Nearly all crime novels feature a muscle-bound, sharpshooting, fast-driving, marathon-running, cool-as-the-center-seed of-a-cucumber detective? What is it about the suit-wearing investigators that attracts a writer’s attention? After all, detectives are often the last officers to see any real action.

Police investigators are rarely in shootouts. They hardly ever chase fleeing suspects. In fact, their job is pretty mundane—see a body, collect some evidence, send evidence to a lab, talk to a few people, evidence results return from the lab in the morning mail, get a warrant, arrest the suspect (or have a uniform pick him up), testify in court, and then start all over again. Oh, and paperwork, paperwork, paperwork! Lots of mind-numbing paperwork.

Many detectives have been on the job for years and years, doing not much more than the above, and it’s this lack of activity that sometimes takes its toll in the form of flabby muscles, poor shooting skills, slow reaction times, couldn’t run if they wanted to (and they don’t), and yes, as more time passes by, even hot flashes, crappy eyesight and hearing, and bad backs, knees, and hips.

Writers are actually going about this thing all wrong. Bass-ackward, as some of the old-timers on my old beat used to say.

Patrol officers are the men and women who see all the excitement—going toe-to-toe with 350 lb. musclebound crooks who refuse to be handcuffed, shooting it out with armed robbers, 110 mph vehicle pursuits, chasing armed robbers through dark alleys, being bitten by dogs, removing unwanted 20-foot-long pythons from beneath mobile homes, rescuing people from burning cars and buildings, performing CPR on unconscious and unresponsive drug addicts, climbing in windows after burglary suspects, capturing prison escapees, wading into a street filled with drug dealers, gang members, and prostitutes, and rescuing tiny puppies and kittens from storm drains and frozen ponds. Now there’s the complete package—excitement and action along with a tender side. And who doesn’t love puppies and kittens, right?

So let’s explore this concept a bit further. Lots of people are attracted to fit men and women in uniform, right?

But how many people could possibly be attracted to detectives who wear rumpled, out-of-style suits and scruffy facial hair? For example …

Ridiculous to even consider, right?

Patrol officers hit the gym regularly so they can match muscle-for-muscle with the thugs they arrest on a daily basis. Detectives, well, they sometimes drive by a gym or two while on the way to their colorectal pre-surgery appointments.

Patrol officers hone their skills every single day. They’re out there in the trenches, staying sharp, looking sharp, and acting sharp.

such_fat_cops_640_07

Investigators start their day in their offices, drinking a cup of coffee while solving the daily crossword puzzle, using a pencil crudely sharpened with the pocketknives they carry for peeling apples and cutting loose threads from their suit jackets.

Uniformed officers are the front line officers, the “faces of the department.” Therefore, their hair is neatly trimmed, clothing neatly pressed, and shoes shined to glossy perfection.

Detectives are often seen wearing t-shirts, old jeans, and sneakers. And the last time they saw a set of hair clippers was the day they spent an entire morning grooming the family Lhasa Apso.

Patrol officers stare into the face of danger. Detectives work “undercover.”

Patrol officers fight crime. Detectives wait until the danger is over before “going in.”

Patrol officers rush into active crime scenes to save the victims. Detectives serve search warrants in the middle of the night, hoping to catch the bad guys while they’re sleeping.

So give this a little thought when you sit down to dream up a character for your next thriller. Do you go with bass-ackward tradition, or will your tale face a new direction?

Besides, who do you want saving your puppies, a super-fit, handsome patrol officer …

such_fat_cops_640_10

Or an out-of-shape, poorly-dressed detective who adores puppies, rainbows, and long walks on the beach at sunset?

*No puppies were harmed during the research portion of this article. I cannot say the same for donuts and chocolate cake.


*** A fantastic and unique opportunity! ***

On January 23, 2021, Writers’ Police Academy Online will once again offer an exciting and unique daylong live and interactive seminar. This course, “Criminal Investigations: Writing Believable Make-Believe,” features three of the country’s top investigators and forensics experts who will present detailed sessions on cybercrimes and security, 3D crime-scene mapping using drones and lasers, and an in-depth, behind the scenes chronicling of what happens when a victim of sexual assault seeks care in a hospital setting.

As a bonus, USA Today & Wall Street Journal bestselling author Lisa Regan details how to use the elements of fiction to craft a gripping crime novel.

Sign up today to reserve your seat!

“Criminal Investigations: Writing Believable Make-Believe”

Schedule and Class order:
(All times are EST)

10:30 – Login and Test
10:45 – Welcome

11:00 – 12:20
Digital Breadcrumbs: Tracking People in Cyberspace ~ Instructor, Josh Moulin

Nearly every investigation involves some aspect of technology, whether it is used to commit the actual crime or contains evidence of criminal activity. In this information-packed session, you will learn how cybercrime investigators trace activity on the Internet, how mobile devices are tracked, how digital forensics is used to uncover evidence, and how law enforcement obtains information. Additionally, this course will cover techniques that suspects may use to try and hide their activity from law enforcement such as the darknet, anonymizing services, and anti-forensic tools.

12:20 – 12:50
Break

12:50 – 2:10

Sexual Assault: When a Victim Seeks Care in a Hospital Setting ~ Karmen Harris, RN, SANE-A

Based on a scenario, the class will explore what happens when a victim of sexual assault seeks care in a hospital setting. In this class, we will walk through the process of the medical-forensic exam and further explore how trauma is identified, the elements of documentation and forensic photography, evidence collection, and other aspects of the fascinating intersection of forensic science and nursing.

2:20 – 3:40

Using 3D Laser Scanners and Drones to Document Crime Scenes ~ Instructor, RJ Beam

3D scanners used by engineering firms have slowly been gaining traction in police work. Take a walk into a real homicide scene to see how the 3D reconstruction helped secure a conviction. Learn about how 3D scanners work and how drones can augment the creation of a 3D recreation.

3:50 – 5:10

Creating Dynamic Crime Fiction: How to use the elements of fiction to craft a gripping crime novel ~ Instructor, Lisa Regan

In this class you will learn how to combine several elements of fiction to create a crime novel that is authentic and riveting. You’ll learn tips and tricks for plotting effectively to keep readers turning pages. You’ll learn how to develop characters who are relatable and intriguing. We’ll discuss how to write believable dialogue that moves your story forward. You’ll also receive tips for incorporating information from law enforcement and other experts into you work. Finally, we will discuss advice on self-editing.

5:10

Final words

Does your latest tall tale feature a beginning, middle, and end? How about characters, setting, and dialog? Have you been especially creative by inserting lots of sentences composed of various words with various meanings? Do you know the difference between a police chief and a sheriff? Are you aware that the FBI does not typically investigate local murder cases, that it is the duty of local police to solve those crimes?

If you answered yes to each of the above questions, well, you’ve taken a few of the appropriate first steps toward accurately writing about cops, crime, and crooks.

So, you conduct tons of research by visiting online websites and by participating in your local citizen’s police academy, and those are fantastic resources. But have you considered going the extra mile by spending a bit of extra research time to develop ways to activate the senses of your readers? After all, using the senses is a huge key to the success of showing, not telling. And the use of the senses creates an important emotional connection between the story and the reader.

How does a writer create scenes that ignite a reader’s senses of touch, taste, hearing, smell, and sight? Well, for starters, they should call on past life experiences and then translate those experiences into dynamic descriptive words and phrases. However, when describing mood, setting, to emphasize a point in dialogue, etc., writers should avoid using an abundance of clunky “ly” words.

Words ending in “ly” are often clunky and clumsy

Words ending in “ly” are often redundant and quite frankly, unnecessary. They can slow the reader and are often so jarring they could stop the flow of the story. Is it possible to draw on personal experiences and then to write those powerful scenes without the use of “ly” words? Well, let’s check in with a few top storytellers.

For example …

Patricia Cornwall didn’t invent rain, leaves, or playing fields, but she obviously drew on her memories to create the passage below. It’s a simple scene, but it’s a scene I can easily picture in my mind as I read. I hear the rain and I feel the cool dampness of the asphalt, grass, and tile roof. The writing also conjures up images of raindrops slaloming down windowpanes, and rushing water sweeping the streets clean of debris. The splashing and buzzing sound of car tires pushing across water-covered roadways. And she accomplished the imagery without using a single “ly” word.

 “It was raining in Richmond on Friday, June 6. The relentless downpour, which began at dawn, beat the lilies to naked stalks, and blacktop and sidewalks were littered with leaves. There were small rivers in the streets, and newborn ponds on playing fields and lawns. I went to sleep to the sound of water drumming on the slate roof…” ~ Patricia Cornwell, Post Mortem.

Sandra Brown takes us on brief “no “ly word” journey through a pasture on a hot day. We know it’s hot because of the insect activity. We also know the heat of the day increases the intensity of the odor of horse manure. And, Brown effectively makes us all want to help Jack watch where he steps.

“Jack crossed the yard and went through a gate, then walked past a large barn and a corral where several horses were eating hay from a trough and whisking flies with their tails. Beyond the corral he opened the gate into a pasture, where he kept on the lookout for cow chips as he moved through the grass.” ~ Sandra Brown, Unspeakable.


Here’s a decent rule of thumb – Write the scene and then remove all unnecessary flowery words, especially those that end in “ly.”

Too many “ly” words are often difficult for readers to take in. Besides, they can slow the story and do nothing to further it.


Lee Child is a master when it comes to describing a scene with few words. Here’s a fun exercise. Count the number of times Child uses an “ly” word in the text below. Then consider whether or not you would have used unnecessary “ly” words had you written this scene? Aha! Perhaps it’s time to step away from using clunky words.

“The bar was a token affair built across the corner of the room. It made a neat sharp triangle about seven or eight feet on a side. It was not really a bar in the sense that anybody was going to sit there and drink anything. It was just a focal point. It was somewhere to keep the liquor bottles. They were crowded three-deep on glass shelves in front of sandblasted mirrors. The register and credit card machine were on the bottom shelf.” ~ Lee Child, Running Blind.


Another example of effectively and masterfully projecting an image into a reader’s mind comes from James Lee Burke. Short. Sweet. And tremendously effective.

“Ida wore a pink skirt and a white blouse with lace on the collar; her arms and the top of her chest were powdered with strawberry freckles.” ~ James Lee Burke, Crusader’s Cross.

Okay, what does all of this have to do with writing about cops, you ask? Well, in the passages above, the authors created a micro world by using a few, but extremely powerful and carefully chosen words. And it’s obvious to the reader that each of the writers called upon their own experiences to write those scenes. They’ve been there and done that, and their imaginations have conjured up memories of things they’ve seen, touched, tasted, heard, and smelled. And all without the use of words ending in “ly.” Just simple, clunk-free writing.

Cops live and work in a unique world that’s generally not accessible to the average person, including writers. They experience things that most only read about or see on TV news reports. And that brings us full circle. How can a writer effectively write, and activate a reader’s senses, about something they’ve only read about or heard second and third hand from someone reading to them, word-for-word from a teleprompter?

I think Joseph Wambaugh, one of the best cop-writers of our time, offers a brilliant guideline to follow when writing cops. Wambaugh said, “The best crime stories are not about how cops work on cases. They’re about how cases work on cops.”

Paste Wambaugh’s quote near your computer. Glance it as you write. Keep it in mind while developing law enforcement characters and scenes.

To increase your knowledge of forensics and writing, I strongly urge you to attend courses and classes offered by Writers’ Police Academy Online. These sessions take participants behind the scenes to places typically visited only by law enforcement. The value of information provided is immeasurable, especially so for writers whose goal is to deliver top shelf material.

On January 23, 2021, Writers’ Police Academy Online will once again offer an exciting and unique daylong live and interactive seminar. This course, “Criminal Investigations: Writing Believable Make-Believe,” features three of the country’s top investigators and forensics experts who will present detailed sessions on cybercrimes and security, 3D crime-scene mapping using drones and lasers, and an in-depth, behind the scenes chronicling of what happens when a victim of sexual assault seeks care in a hospital setting.

As a bonus, USA Today & Wall Street Journal bestselling author Lisa Regan details how to use the elements of fiction to craft a gripping crime novel.

Sign up today to reserve your seat!

Experts are often asked what kind of entrance and exit wounds are produced by various types of ammunition. The rounds in the photograph below contain hollow point bullets similar to the rounds fired from the Thompson sub-machine gun I’m holding in the top and quite ancient photo. I pulled the picture from the buried crypt where I keep my old cop stuff.

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The .45 caliber rounds above are approximately the diameter of the Sharpie pens many authors use to sign books. That’s pretty close to the size of most entrance wounds which, by the way, is very near, if not identical to, the size of the bullet that punctured the flesh.

Pictured below is an entrance wound caused by 9mm round at point blank range, a close contact gunshot wound. Obviously, this was a fatal wound since I took this picture during the autopsy of the victim. Note the post-autopsy stitching of the “Y” incision (above right of the photo).

Also notice the charred flesh around the wound. This was caused by the heat of the round as it contacted the victim’s skin. The bruising around the wound was, of course, caused by the impact.

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9mm bullet wound to the chest—close range.

Next is one of the .45  rounds after it was fired from the Thompson machine gun.

Firing the Thompson at a sheriff’s office indoor range in Ohio. Notice the piece of ejected brass to the right of the major’s arm. I took the photo and was lucky enough to capture the shot of the brass casing during its fall to the floor.

The round passed through the paper target, through several feet of thick foam rubber, through the self-healing wall tiles of the firing range, and then struck the concrete and steel wall behind the foam. The deformed bullet finally came to rest on the floor. Keep in mind, though, that this all occurred in the blink of an eye, or quicker.

The above image shows a .45 round (above left between the 3″ and 4″ mark on the ruler) after a head-on strike with concrete and steel. The other distorting of bullets occurred when striking various surfaces from a variety of angles—ricochet rounds.

Remember yesterday’s article where I detailed the parts of a cartridge? The bullet is the projectile portion of a cartridge, not the entire round.

Hitting the hard solid surface head-on caused the .45 bullet to expand and fracture which creates the often larger exit wounds we see in shooting victims.

Many times, those bullet slivers break off inside the body causing further internal damage.

The size of an exit wound also depends on what the bullet hits inside the body. If the bullet only hits soft tissue the wound will be less traumatic. If it hits bone, expect much more damage. Easy rule of thumb—the larger the caliber (bullet size), the bigger the hole.

Bullets that hit something other than their intended target, such as a brick wall or metal lamp post, can break apart sending pieces of flying copper and lead fragments (shrapnel) into crowds of innocent bystanders. Those flying ricochet fragments are just as lethal as as any intact, full-sized bullet.

For every action, there is an equal and opposite reaction.

Bullets don’t always stop people. I’ve seen shooting victims get up and run after they’ve been shot several times. And for goodness sake, people don’t fly twenty feet backward after they’ve been struck by a bullet. They just fall down and bleed. They may even moan a lot, or curse. That’s if they don’t get back up and start shooting again. Simply because a suspect has been shot once or twice does not mean his ability, or desire, to kill the officer is over, and that, writers, is why police officers are taught to shoot until the threat is over.

The bank robber I shot and killed during a shootout fell after each of the five rounds hit him. But he also stood and began firing again after each of my bullets struck—one to the head and four to the center of his chest area. After the fifth round he stood and charged officers. Four of the five rounds caused fatal wounds. Yet, he still stood and charged toward officers. I and a sheriff’s captain tackled and cuffed him. In another instance, a man engaged in a gun battle with several officers. He was shot 33 times and still continued walking toward officers.

Always keep Sir Isaac Newton and his Third Law of Motion in mind when writing shooting scenes. The size of the force on the first object must equal the size of the force on the second object—force always comes in pairs.

Here’s Professor Dave to explain …

 

So, if your scene shows the shooting victim flying that twenty feet away from the person firing the rounds, the shooter would also fly twenty feet in the opposite direction. Ah, sounds silly, right? So toss this one in the trash can along with the use of cordite. No, no, and NO!

Equal and Opposite Reaction—Newton’s Cradle

Billy Buck’s heart pert-near stopped cold when he realized he was out of bullets. He frantically dug his grubby and stubby fingers down into each of the pockets of his crud-caked moldy jeans. Nothing. No bullets. He’d have to bare-knuckle and BS his way out of this one. He straightened his back and stood tall while squinting his eyes until they were practically shut, just as he’d seen Clint Eastwood do many times. Hey, it worked for him. Maybe …

Okay, what’s wrong with the above text (other than the poor writing)? I’ve seen this faux pas in several published works, and so have you, I’m sure..

Yes, bullets are only a portion of a complete round, not the entire item. If you already knew this then you’re ahead of the game.

So, while we wait to see if Billy Buck makes it out of this post alive, let’s examine a few other details about ammunition you may not know or have forgotten.

Bullets are Only Part of the Story

Acetic acide – reagent used in in the Griess test for detection of gunpowder residue. It’s also used for determination of nitrite in drinking water.

Action – The working mechanism of a firearm. For example:

  • Automatic – A firearm that feeds cartridges, fires, extracts, and then ejects spent cartridge cases. It will continue to do so as long as the trigger is fully depressed and there are cartridges in the feed system. These weapons are sometimes called “Full Auto” or “Machine Guns.
  • Lever – The breech mechanism of the firearm is cycled by the shooter who operates an external lever that’s typically located below the receiver. Operating the lever ejects a spent round on the way down and feeds a new round into the chamber on the way back up, if the gun is designed to do so. (Think old western TV shows where the cowboy fired his rifle by operating a lever action).
  • Revolver – A firearm with a cylinder having several chambers that rotate around an axis with each pull of the trigger .
  • Semiautomatic – A repeating firearm that requires a separate pull of the trigger for each shot fired. These are the typical pistols and rifles carried by police officers, recreational shooters, homeowners, concealed carry folks, etc. They are NOT fully automatic. Semi-autos operate by using the energy of each fired/discharged round to operate a sliding mechanism that  discharges and loads each round, until the weapon and magazine are empty.

Bore diameter – Diameter of a rifled gun barrel, measured from the tops of the lands. In a non-rifled barrel, such as a shotgun, the diameter is measured from inside wall to inside wall.

Breech loading – A breech-loading weapon is a firearm (a rifle, a gun etc.) in which the bullet or shell is inserted or loaded at the rear of the barrel, or breech; the opposite of muzzle loading.

Buckshot – Lead pellets ranging in size from .20” to .36” diameter. These are typically loaded in shotshells used by hunters, target shooters, and police.

Bullet – an elongated missile of some type (lead, etc.) that’s to be fired from a firearm.

Bullet, armor piercing – A bullet consisting of a hardened core other than lead or lead alloy.

Bullet, exploding – A bullet containing some sort of explosive that’s designed to explode upon impact.

Bullet, hollow point – A bullet with a cavity in the nose that’s designed to expand on impact.

Bullet, ogive – The curved forward part of a bullet.

Bullet, tracer – A bullet featuring a burning compound in its base. The hot and clearly visible flaming trail permits the shooter, and others, to view the bullet’s flight path.

Bullet penetration – The distance a bullet travels within a target material.

Bullet splash – The fragmentation and scattering/spattering of a bullet upon impacting a surface, such as metal or wood.

Bullet wipe – The discolored area around the immediate periphery of a bullet hole. It’s the smear/staining left surrounding the hole, caused by a combination of bullet lubricant, smoke components, lead, and even jacket material.

Cannelure – A groove or other mark surrounding the outside of a bullet that’s usually knurled, although, sometimes they’re plain. Cannelures are used to assist in crimping and identification of rounds.

Cartridge – A single piece of ammunition. One round.

  • Centerfire Cartridge– Any cartridge with its primer located central to the axis in the head of the case.

Rimfire Cartridge – A flange-headed cartridge with the priming mixture contained inside the cavity of the rim, such as .22 ammunition.

Chamber – The rear part of the barrel bore that accepts cartridges. Revolver cylinders have several chambers, for example (six shooters).

Chambering – Inserting a cartridge into the chamber. Officer Al Bundy, ready for a night of walking his downtown beat, loaded his 9mm and then chambered a round. He looked toward his partner and said, “Let’s rock.”.

Cordite – A double-base smokeless powder. It’s made of gun cotton, nitroglycerin, and mineral jelly. The mixture is molded and shaped into long cylindrical strands. Which are packed into individual casings. Cordite use and manufacturing ceased near the end of WWII. It’s not used in modern ammunition; therefore, modern day characters in novels and on TV cannot smell it when entering a crime scene. NO CORDITE in your stories!!!!

Cylinder – The rotating part of a revolver that contains the chambers (the individual slots where rounds are inserted).

Ejection – Expel a cartridge case, live or fired round, from a firearm.

Ejector/Extractor – The mechanism that expels cartridges or cartridge cases from a firearm.

Ejector/Extractor marks – Toolmarks on a cartridge case produced from contact with the ejector. Ejector/extractor marks are typically found near the rim of the cartridge and can sometimes be used to match a spent cartridge with the firearm that made the unique scratch, dent, etc.

Feeding – The insertion of cartridges into the chamber, either by hand or by magazine.

Feet per second – The unit of measurement used to express the speed of a projectile’s rate of travel.

Firing pin drag marks – Toolmarks produced during the extraction, ejection cycle, when a firing pin contacts a cartridge case. The same occurs when ejecting shotshells from a shotgun.

Firing pin impression – The indentation of the primer of a centerfire cartridge case, or on/at the rim of a rimfire cartridge case. The mark is made when the firing pin strikes the cartridge.


Billy Buck’s partner in crime, Onion Jenkins, tossed him a handful of cartridges (not bullets) just in the nick of time. So yes, he made it out of here in one solid, non-perforated piece.

Many of you attended virtual MurderCon last summer and/or Writers’ Police Academy Online’s recent seminar  “Mystery and Murder: Transforming Reality into Fantastic Fiction.”  Those of you who couldn’t make it missed not only a couple of fantastic training sessions for writers, but also the reference to a few wonderful research books that could help bring a bit of extra zing to your stories.

During his MurderCon presentation, homicide detective Jeff Locklear referred to “Practical Homicide Investigation: Tactics, Procedures, and Forensic Techniques, Fifth Edition (Practical Aspects of Criminal and Forensic Investigations), the unofficial gold standard of death scene reference books.

This book again made an appearance last week when international bestselling author Tami Hoag held up a copy of the book during her session at the “Mystery and Murder” seminar. By the way, Tami gave her prevention from her office, giving the world a peek inside her stunning home.

I, too, have a copy of “Practical Homicide Investigation” and often refer to it either for new information or to reinforce my memory. It’s a bit on the pricey side, but worth every dime. Actually, it worth every penny for the photographs alone, if your crime-scene-writing stomach can take it.

Highly recommended.

*For your shopping convenience, please click the links below.


Next up is a book recommended by Dr. Katherine Ramsland.

“Crime Scene Staging Dynamics in Homicide Cases” by Laura Gail Pettler is another “must have” book if the bad guys in your tales wish to fake a murder scene in order to throw detectives off their trails. Dr. Ramsland’s “Mystery and Murder” presentation about staged homicide scenes, by the way, was simply fascinating, and we can’t wait to see what she has in mind for future classes.

And, while we’re speaking of Dr. Ramsland, her book “How to Catch a Serial Killer” should have a home on the shelves of all serious crime writers.


Here’s an oldie but goody. “Spy the Lie” It’s an entertaining read, albeit a quick read, that describes the things to look for during a interviews interrogations. The author also details how easy it is ruin opportunities to garner confessions. There’s a bit of intuition involved as well.


Of course, we mustn’t forget …


Looking for stocking stuffers and other unique gifts for crime writers? What about a Pen Multitool used by Military Pilots, Navy SEALS, First Responders, SWAT, and more? It’s a self-defense weapon as well as a super cool pen.


It’s a glass with a real .308 bullet embedded in its side.


Perfect for taking notes when interviewing cops for your next book, jotting down important details while attending Writers’ Police Academy events, or creating the weekly to-do lists. This pack of notebooks is formatted to help you “get it right.”


Coming January 23, 2021, a live and interactive seminar featuring crime scene mapping using lasers and drones, sexual assault investigations, the craft of writing with USA Today & Wall Street Journal bestselling author Lisa Regan, and more!

writerspoliceacadey.online

Boogaloo: a slang phrase used as a shorthand reference for a future civil war. (Also known as “Boog.”)

Boogaloo Boys (aka Boogaloo Bois): A leaderless group whose “members” seem to have extreme libertarian politics, with a strong emphasis on gun rights. Their objectives vary greatly, from some claiming to be strictly antiracist, while others lean toward white-supremacist beliefs. Group members often post memes to social media pages featuring neo-Nazi themes. Boogalooers love their guns and many openly carry them while wearing colorful Hawaiian shirts as part of their Boogaloo “uniform.” Their stance is anti-authority, anti-state, and definitely anti-law-enforcement. The collapse of American society is quite possibly their ultimate goal. Some members have murdered police officers. Others attempted to aid foreign terrorists.

The Boogaloo movement roughly formed in 2019 and is still developing. When 2020 rolled around, “Boogalooers” increasingly became engaged in protests about gun rights, police shootings/killings, restrictions related to the COVID pandemic and, well, basically anything that involved authority over citizens.

Typically, Boogalooers are not white supremacists. In fact, as a result of their anti-cop beliefs, many actively participated in the Black Lives Matters protests following the killing of George Floyd by Minneapolis police. Most likely, though, the George Floyd protests were an excuse to confront and attack law enforcement.

In May 2020, a 26-year-old Texas man, Ivan Harrison Hunter, participated in one of the Floyd protests. He was seen wearing a tactical vest and a skull mask over his face as he used an AK-47 style rifle to fire 13 shots into an occupied police building. Shortly after Hunter fired those rounds the building was set ablaze. Hunter also claimed to have joined with members of the Black Panthers organization to burn other police stations.

Shortly after Hunter fired those rounds into the police precinct he sent a brief series of messages to a a fellow Boogalooer in California, a man named Steven Carrillo.

“Boog,” Hunter wrote.

“Did,” Carrillo responded.

“Go for police buildings,” Hunter said to Carrillo.

“I did better lol,” replied Carrillo.

Carrillo was referring to the fact that he’d just shot and killed Federal Protective Service officer, David Patrick Underwood, in Oakland, California.

Later in the year, Carrillo was arrested and accused of shooting and killing a Santa Cruz, Ca. sheriff’s deputy. Prior to the arrest, Carrillo used his own blood to scrawl the word “BOOG” on the hood of a white van.

Boogalooers believe in a vast assortment of causes, from “wanting the heads of politicians on spikes,” to “wanting pedophiles to die by putting them feet-first in wood chippers.”

The group is so loosely organized that one faction of Boogaloorers seem to support Black Lives Matter, while others muddy the waters by posting an opposite view on social media—“F*** BLM. They’re one of the most racist groups out there. It is ignorant to think BLM isn’t a terrorist organization filled with black supremacists, and white liberal Marxists.”

Boogaloo Michael Solomon and Benjamin Ryan Teeter have been accused and arrested for their plot to sell weapons to someone they thought to be a member of the terrorist group Hamas. The person with whom they’d planned to do conduct business was an undercover FBI agent. Prosecutors say the pair considered becoming “mercenaries” for Hamas in order to fund the boogaloo movement.

In October 2020, eight boogalooers were tied to the plot to overthrow Michigan’s state government. Part of the plan was to kidnap Gov. Gretchen Whitmer. Fortunately the FBI thwarted those actions by arresting Adam Fox, Ty Garbin, and Daniel Harris before the kidnapping could be carried out. The other five men involved were also arrested by the FBI. However, in addition to federal charges, the five men also face state charges of plotting to attack Michigan’s Capitol for the purpose of initiating a civil war.

The basis for the plan centered around Gov. Whitmer’s strict COVID lockdown regulations.

As bizarre as this all sounds, the Boogaloo movement is quite real.

Unfortunately, another casualty caused by the Boogaloo movement are the few brightly-colored, extremely comfortable, Hawaiian-style shirts hanging in my closet to which I must now say goodbye.

The good side to all of this, however, is that writers have more wacky fodder for stories than ever before. Strange politics, spies, moles, whistleblowers, secret meetings, etc. So a Hawaiian-shirt-wearing villain could be shaped into an interesting villain, right? Nah, who’d believe such nonsense could happen in real life?

Of course, this is, after all, 2020!

Aloha, y’all.

I have many fond memories of my days as in law enforcement. Sure, there were bad times and I still bear those scars, both physical and mental, but all things considered I value and cherish the experience. After all, I have a built-in resource library that’s practically unending, and part of that vast lump of knowledge includes interacting with people from all walks of life.

I’ve had the pleasure of meeting celebrities and I’ve had the unique opportunity to sit mere feet from a notorious serial killer when the “switch” was pulled to end his life. I’ve met wonderfully nice people and I’ve dealt with some of the worst of the worst. I can honestly say that I’ve been punched, bitten, stabbed, and shot at by some of the best worst in the business.

But pushing aside all of the “bad” cop stuff, I’d like to call attention to plain old human interaction and the differences in our cultures, and how those backgrounds can sometimes affect police officers during their daily duties. These are also details that can go a long way toward bringing that extra bit of realism to your stories in progress.

Such as …

Imagine for a second that you’re a deputy sheriff whose patrol area covers a vast portion of real estate that’s so deep into the countryside that sunshine is delivered each day by horse and wagon. Trips to the grocery store roll around only once or maybe twice each month. These are the places where residents keep their “deep freezes” filled with vegetables from their gardens and home-butchered meat from freshly-killed hogs, deer, and squirrels.

Back in the day, not everyone in these areas had a telephone. Keep in mind, this was pre-cellphone and that meant party lines were still in use, as well as some people having to go to the nearest county store or phone-owning neighbor’s house to make or receive a call. Even then, those precious calls were mostly reserved for emergency use only.

It was during those days—pre-cellphone and pre-GPS—when deputies had to rely on obtaining directions from local residents when they weren’t sure of a particular address. Houses were often set so far from the road we couldn’t see house numbers, if there were any to see. 911 had not come into play. And, well, you get the idea. Cops were on their own when it came to finding someone’s house.

So, we’d often stop the first person we saw to ask for directions. Or, we’d stop in at the country store to ask the overall-wearing guys who sat around a warm potbelly stove chewing tobacco, discussing crops and livestock, and gossiping about so-and-so getting a new tractor or truck, and who’d killed the biggest deer.

This is what we’d sometimes hear in response to our inquiries.

Me to the checker-playing, work-booted group: “Do you by any chance know Joe Imacrook? He’s somewhere around five-feet tall and weighs in the neighborhood of four-hundred pounds. Thick beard and missing one front tooth. His wife’s name, I believe, is Hattie Sue.” 

The men look up from their games, glance at one another, and then the loudest, most vocal of the crew said, “We might. Why’re you asking?”

Me: “He killed a man last night. Shot him twice in the forehead and then took the victim’s cash, car, and his shoes.”

Crew leader: “Did the guy need killing?”

Laughter erupts from his buddies.

Me: “The guy he murdered had just left church and was on his way home to his pregnant wife and two small children. He killed him for no reason other than to rob him.”

The laughter shut down as if someone flipped a switch. These folks were serious their women and children.

Crew leader: “Yeah, we know him. He lives down the road a piece.”

A second man spoke up. “I always thought old Joe was a few pickles shy of a full jar. Told the missus so, too.”

Crew leader leaned back in his chair and ran a hand across the patch of scraggly, bristled whiskers dotting his cheeks, chin, and neck. “Here what you do,” he said. “Go back out to the crossroads and take a left. Then go on about, oh a mile or so and then keep goin’ till you pass Robert Junior’s old horse barn. Then you hang a sharp right at the big oak tree. You can’t miss it ’cause it’s got a big old hornets’ nest a-hanging from one of the bottom branches. When you see the tree, the one with the hornets’ nest, keep on a goin’ til you see a red mailbox. That ain’t Joe’s mailbox, but you’re close. He’s just past where John Henry Thomas used to have a store. It burned down 37-years ago next week, but they’s a big rock there with some yaller paint on it. Yaller was John Henry’s favorite color so his wife, Etta Jean—she’s Romey and Winonna Jenkins’ oldest daughter—painted the rock so’s everybody’d remember him and the store. You know, John Henry sold the best cheese, bologna, and peaches this side of Atlanta. 

Anyways, if you get to where the road splits into a “Y” you’ve done gone too far, so turn around in Mable Johnson’s driveway and head back the way you come. Old Joe’s house is the blue one a’settin’ off the road about two-hundred yards. The one with the goats and chickens running ’round the place. You can’t miss it. Oh, whatever you do, blow the horn three times when you drive up so he’ll know you’re okay, not some of those pesky Joe Ho’vers Witnessers. I ‘spect he’ll come on out peaceful.”

This bit of dialog may sound a bit overwritten, however, it’s a fair representation of what I’ve encountered on more than one occasion throughout the years. Anyway, the point I’m so poorly trying to communicate is that no detail is too small to store in your memory banks. You never know when those intricate pieces of information are the things needed to take your work to the next level.

James Lee Burke, one of my all time favorite writers, is a master of detail and he often utilizes simple things to enhance his stories. To open the cover of one of Burke’s books is to release the scents of swamp water and crab boils. The smell of meat cooking on open fires greets you warmly as you turn the pages.

In short, Burke makes us feel the words he’s written.

For example, here’s a brief passage from The Jealous Kind, one of his recent books.

“I drove her into the same neighborhood where I bought the switchblade knife. It was Sunday morning, and a few people were on the streets. A blind woman of color was playing bottleneck guitar under s canopy in front of a liquor store.”

In three short sentences Burke takes us by the hand to guide us through this neighborhood. I see the blind woman sitting in the shade of well-weathered canvas awning. I hear the twangy sounds she makes while pushing and pulling a metal slide across the steel strings of her guitar. I hear the notes faintly echo from the sides of brick and glass storefronts. I picture her seated on an overturned plastic milk crate, wearing layers of tattered clothing. In the windows behind and beside her, a few tubular neon lights advertise beer and cigarettes.

Burke’s words show me people strolling along sidewalks littered with faded, discarded lottery tickets and scraps of fast food wrappers. Both men and women avoid making eye contact with anyone. They’re going nowhere particular, just going. The fact that the character purchased a switchblade there indicates it’s a dangerous area, especially after the sun slips behind the skyline.

It’s quite possible that Burke visited this place at some point in his life, and at the time he needed the information he pulled it from that place in his mind where he stores such vivid detail. And this spot, a place we all have inside our minds, is where the dialog I posted remained in limbo until I dug it up.

So yes, details, even the tiniest of them all, can be used to bring life to an otherwise unremarkable three sentences. Imagine if Burke had written the passage without detail.

I drove her through a place I’d been before, where I once bought a knife. We saw some people, including an old blind woman. She was playing a guitar.

See what I mean? Same information, but absolutely no life.

So yes, details. Look for them. Store them. Write them. They are the heartbeat of a good book.

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Using common sense when writing about cops

Detective I. M. Manly here, and I’ve stopped by today to tell you about a serious situation concerning today’s protagonists.

We, the heroes of your stories, have attended numerous meetings in secret, trying to figure out ways to put an end to the torture you force us to endure. For example, and this is indeed a sad, sad, case. I ran into Biff Steele a few days ago and within a matter of seconds I knew I’d caught him at a weak moment.

He’d barely spoken two sentences when his emotions came spilling out. Right there on the sidewalk in front of the Piggly Wiggly, for everyone to see, including Pastor Ben Theredunthat who went inside to purchase a tin of foot powder for his wife. On the way out he offered a quick blessing, an act Biff sorely needed at that moment. Pitiful is what he was, I’m here to tell you.

Attack of the Killer Typewriters

I. M. Manly looking especially tough on the set of his new film, “Attack of the Killer Typewriters,” a gripping thriller based on the book of the same title.

Biff is typically a tough-as-nails protagonist. He rolls with the punches and quite often delivers a few hay-makers of his own. But on this day, Biff was pretty far down in the dumps. He was feeling lower than a snake’s belly in a wagon rut. Feeling blu … Well, you get the idea.

I asked him why he was sporting such a long face. His response was stunning.

He said he’d had about all he could take from his writer. She’d stopped conducting any real research and subsequently turned to the internet where she mined tons of crappy information. Then Biff paused a second before delivering the really big bombshell. He said he was thinking about leaving, maybe even killing himself off in the final pages of the next book.

I couldn’t believe it. Not Biff Steele! I asked what, if anything, could be done to make things right again. That’s when he told me everything. Then, shaking like a leaf on a tree during a hurricane, he drove straight home to confront his writer.

A few weeks later, while attending a popular convention for writers, Biff told a concerned group of protagonists that when he arrived home after unloading his burdens on me, he burst through the front door and found his writer sitting at the typewriter clacking away. He said his creator seemed irritated with the interruption but he started his rant anyway.

This, she said, is what Biff told yelled at his writer.

1. Quit having me smell the odor of cordite at crime scenes. For goodness sake, I’m not that old. Actually, even my parents hadn’t been born when they stopped making that stuff. No. More. Cordite!

2. I love tense moments in stories as much as the next character, but having me kidnapped in every other book? Come on, you know me better than that. Me getting abducted so often makes me look weak. And, quite frankly, a bit stupid.

3. Don’t you remember the discussion we had the last time you had me draw a chalk outline around a dead body? Oh, it’s coming back to you now … That’s right, they don’t do that anymore! Yep, doing so could destroy or alter evidence. Geez … pay attention.

4. For the last time, the FBI does not have the authority to take over my murder cases, my office, or my entire department. Stop sending them into my scenes!

5. Speaking of the FBI … NO, they don’t investigate all kidnapping incidents. So please let me solve my own cases. Your friends stopped writing that garbage years ago and their heroes are looking pretty sharp because of it.

6. So you insist upon writing me as a stupid, bumbling, idiotic clown who can barely find my way home at night, huh? Well, you’re showing a lack of knowledge there, Sunshine. You are aware that I had to pass a ton of tests and show an outstanding ability to solve crimes in order to land the promotion to detective, right? It’s not a job for dummies. Tell me, what are your qualifications that make you an expert on my career?

7. Let’s do this one more time. My sidearm is a Glock semi-automatic. It does NOT have any type of safety that I can “thumb-off.” No Way. No How.

8. Remember book three, back when I carried a revolver, a Chief’s Special? Think hard. Yes, that’s the one. Now think about the scene on page 87 where you MADE me say, “The sunlight reflected hotly from the brass casings as they automatically ejected from my revolver?” Remember that? Well, to this day I’ve never lived it down. Reacher and Bosch and the other guys bring it up all the time, and it’s embarrassing. Why, just the other day I overheard sweet little Kinsey Millhone cracking a joke about it. For the last time, revolvers do NOT automatically eject spent cartridges. I have to push them out manually, using the extractor rod.

9. While we’re on the subject of Kinsey, why can’t I have a steady girlfriend? You know, someone nice, like her? I’m pretty tired of living alone and drinking by myself in dark, dreary bars. I want to have some fun for a change. What don’t you ever let me go dancing, or to a movie? Anywhere where I don’t end up fighting or blasting someone’s brains all over the ceiling. That’s no way to live.

10. You never take me anywhere. I’m tired of living on dusty bookshelves. So I have an idea. I heard the Writers’ Police Academy is launching a brand new series of online courses. Why don’t you do us, and your readers, a favor and sign up the second registration opens? Then you’ll see first-hand all the things you’ve been writing WRONG all these years. All the other writers will be there.

Reacher has been to the WPA. So have Bosch, D.D. Warren, Dance, Rhyme, Jordan, Longmire, Brennan, and, well, the whole gang has been. It’s where all the cool kids go to learn how to “get it right.”

By the way, I heard from a reliable source that the first online session is a killer daylong seminar called “Mystery and Murder: Transforming Reality into Fantastic Fiction.” My source tells me this session features really cool behind the scenes tips, tactics, and techniques used by top crime scene investigators Lisa Provost and Lisa Black. Also, forensic psychology expert Dr. Katherine Ramsland is scheduled to teach a fascinating workshop about staged homicide scenes, something we fictional detectives should know.

Then, in a rare learning opportunity, #1 bestselling author Tami Hoag wraps up the event with her class “Not Just the Facts, Ma’am.” Hoag’s amazing workshop details how to carefully weave all your newfound knowledge of police and forensic work into your story.

I can’t wait until the Writers’ Police Academy Online website goes live so I can sign up to attend the classes. I heard that there’s a limited number of “seats” available, though.

I hope you’ll join me and take advantage of this exciting opportunity!

 

 

Research is the name of the game if a crime writer’s goal is accuracy about a particular aspect of their story, such as murder, cops, and investigations of crimes. Unfortunately, some writers avoid any and all cop-type research, believing they already have all the answers because they watch crime shows on television, and/or their BFF’s cousin’s next door neighbor once lived in the same town as a guy who used to work with a woman who dated the brother of a man who once stood in a grocery store checkout line next to a police detective’s auto mechanic. Well, that sort of connection won’t quite cut it if the desired result is realism.

So, to assist writers who may have incorrectly used one or more of the terms listed below, well, here you go. Yes, I’ve seen each of these used incorrectly. For example, no, transient evidence is not the evidence left behind by homeless criminals …

ABFO Scales: (American Board of Forensic Odontology scales). An L-shaped piece of plastic used in crime scene photography. Scales are marked with circles, black and white bars, and gray bars. These markings aid in distortion compensation and provide exposure determination. Measurements on the scales are typically marked in millimeters.

Bindle Paper: Paper that’s folded to safely contain, store, and transport trace evidence.

Crime Writer: Person who commits multiple murders within the narrow confines of book covers. Crime writers are known to leave behind scores of evidence and sometimes a handful of cliches.

Faraday Bag: Special collection bags for electronic parts. Faraday bags are lined to protect the contents from electromagnetic forces that could damage or destroy evidence.

Historical Fiction: The official residence of cordite. Actually, historical fiction is the ONLY place where cordite and its odor should be used by writers.

Latent Print: A print that’s not readily visible, or one that’s visible only by enhancement.

Odor of Cordite: An imaginary odor detected only by modern writers who should know better … but don’t.

Porous Container: Packaging through which liquids or vapors may pass (cloth, paper, etc.).

Presumptive Test: A non-confirmatory test used to screen for the presence of substances such as drugs or blood. Test kits used by officers in the field are presumptive test kits. Confirmation testing is conducted in official laboratories by trained and/or certified professionals.

Primary Crime Scene: In homicide investigations, the place where the body is found is the primary crime scene. Typically, this is where the investigation begins. Keep in mind, though, there may be multiple crime scenes (crime scene – any place where evidence of a crime is found).

Scene of the Crime: The location where a crime was committed.

Slide-Racking: The totally unbelievable action of pulling and releasing the slide on a semi-automatic pistol just prior to engaging a dangerous situation. Cops carry guns with a round in the chamber. To rack the slide would eject the pre-loaded round leaving them with one less bullet.

Tertiary DNA: DNA can be accidentally transferred from one object to another. A good example could be the killer who shares an apartment with an unsuspecting friend. He returns home after murdering someone and then tosses his blood-spatter-covered shirt into the washer along with his roommate’s clothing. The machine churns and spins through its wash cycles, an action that spreads the victim’s DNA throughout the load. Police later serve a search warrant on the home, seize the clothing, and discover the victim’s DNA on the roommate’s jeans. The innocent roommate is arrested for murder.

Tertiary Transfer of DNA Evidence

The same can occur with touch DNA. A man shares a towel with his wife and his DNA is subsequently transferred to her face and neck. Later, a stranger wearing gloves chokes the woman to death, transferring the husband’s DNA from the victim’s face to the killer’s gloves. The assailant removes the gloves and leaves them at the scene. Police confiscate the gloves, test them, and find the husband’s DNA. He is then charged for his wife’s death while the real killer is free to murder again.

The example above (the choking case) actually happened, and those of you who attended the Writers’ Police Academy session taught by DNA expert Dr. Dan Krane heard him speak of it. He was the expert who proved this was indeed possible and he testified to it in the groundbreaking case involving accused killer Dr. Dirk Grenadier.

Transient Evidence: Evidence which could lose could lose its evidentiary value if not preserved and protected from the elements or other hazards (blood, semen, etc.). This is not evidence left behind by homeless people. It could be, though, if the killer just happened to be someone who lives on the streets. If so, the items collected could then be called transient transient evidence.

White Horse Syndrome: No,  FBI special agents do not ride into town on white horses to take over cases from local cops, nor do they work local murder cases. And … they do not investigate all kidnapping cases. Many writers, bless their hearts, are infected with White Horse Syndrome (WHS). Fortunately, it’s an easily curable disease. Unfortunately, though, some refuse to seek help.

If you or someone you know is affected by WHS, immediate intervention is needed.

To help battle WHS I strongly urge you to attend the upcoming Writers’ Police Academy Online daylong seminar “Mystery and Murder: Transforming Reality into Fantastic Fiction.” In this session you’ll learn behind the scenes tips, tactics, and techniques used by top crime scene investigators Lisa Provost and Lisa Black. Also, forensic psychology expert Dr. Katherine Ramsland is scheduled to teach a fascinating workshop about staged homicide scenes.

Then, in a rare learning opportunity, #1 bestselling author Tami Hoag wraps up the event with her class “Not Just the Facts, Ma’am.” Hoag’s amazing workshop details how to carefully weave all your newfound knowledge of police and forensic work into your story.

Attending Writers’ Police Academy Online classes could be the important first step on the road to recovery from the dreaded White Horse Syndrome.

Registration details and an all new website are coming soon.

In addition to Tami Hoag’s session, other classes include:

“Little Known Facts About Crime Scenes” – instructor Lisa Black.

Lisa Black is the NYT bestselling author of 14 suspense novels, including works that have been translated into six languages, optioned for film, and shortlisted for the inaugural Sue Grafton Memorial Award. She is also a certified Crime Scene Analyst and certified Latent Print Examiner.

 

 

 

 


“Sleuthing the Clues in Staged Homicides” – instructor Dr. Katherine Ramsland.

Katherine Ramsland teaches forensic psychology at DeSales University, where she is the Assistant Provost. She has appeared on more than 200 crime documentaries and magazine shows, is an executive producer of Murder House Flip, and has consulted for CSI, Bones, and The Alienist. The author of more than 1,000 articles and 68 books, including How to Catch a Killer, The Psychology of Death Investigations, and The Mind of a Murderer, she spent five years working with Dennis Rader on his autobiography, Confession of a Serial Killer: The Untold Story of Dennis Rader, The BTK Killer. Dr. Ramsland currently pens the “Shadow-boxing” blog at Psychology Today and teaches seminars to law enforcement.


“The Call You Get is Not Always the Call You Get: When a Routine Death Investigation Crosses State Lines and Multiple Jurisdictions” – instructor Lisa Provost, Forensic Supervisor at Aurora Colorado Police Department.

Lisa has completed over five-hundred-hours of forensic training that includes basic death investigation, child death investigation, advanced child death investigation, and officer-involved shooting investigations.

 

 

 


Tami Hoag is the #1 International bestselling author of more than thirty books published in more than thirty languages worldwide, with more than forty million books in print. Renown for combining thrilling plots with character-driven suspense, crackling dialogue and well-research police procedure, Hoag first hit the New York Times bestseller list in 1996 with NIGHT SINS, and each of her books since has been a bestseller, including her latest, THE BOY. She lives in the greater Los Angeles area.

 

 

 


Here’s a brief video of crime scene processing, photography, and evidence collection.

For over a dozen years the Writers’ Police Academy has delivered sensational hands-on training, as well as the extremely popular Virtual MurderCon event that took place in August, 2020.

During those twelve-plus years, many writers, fans, readers, and law enforcement professionals requested that we develop online courses since many people would love to attend our in-person events but are unable to do so for various reasons.

A few years ago I asked our website guru, Shelly Haffly, to create an online teaching platform that would run in conjunction with this blog. Unfortunately, it has sat dormant since that day. My reason for not launching the program was that some of the pre-designed, built-in functions were a bit too complicated for my “tech-less” mind. However, with the rise of Zoom and other video conferencing and teaching programs, well, the time is now right.

So, without further delay, I’m pleased to announce that “Writers’ Police Academy Online” will officially open its virtual doors in October, 2020. The all new website is currently under construction and registration will soon be available for the first daylong seminar called “Mystery and Murder: Transforming Reality into Fantastic Fiction.”

This first session is live and interactive, meaning that instructors will deliver their presentations and respond to questions in real time. By the way, the instructors for this first seminar are fantastic!

Registration for this fabulous and unique online event is coming soon!


Mystery and Murder: Transforming Reality into Fantastic Fiction

When: October 24, 2020


Classes and Instructors:

 

Not Just the Facts, Ma’am  

How to take all your newfound knowledge of police and forensic work and carefully weave it into the tapestry of your story.

Instructor, #1 International Bestselling Author Tami Hoag

Tami Hoag is the #1 International bestselling author of more than thirty books published in more than thirty languages worldwide, with more than forty million books in print. Renown for combining thrilling plots with character-driven suspense, crackling dialogue and well-research police procedure, Hoag first hit the New York Times bestseller list in 1996 with NIGHT SINS, and each of her books since has been a bestseller, including her latest, THE BOY. She lives in the greater Los Angeles area.

Sleuthing the Clues in Staged Homicides 

Death scenes have been staged in a variety of ways, and it takes an observant investigator to spot the signs. It might be a 911 call, an inconsistency between the scene and the narrative, an uncharacteristic suicide note, or a distinctive signature that signals something not quite right. Some set-ups have been ingenious! Ramsland uses cases to illustrate actual staged scenes, and describes the types of skills investigators need to be able to spot and reconstruct staged incidents.

Instructor, Katherine Ramsland

Katherine Ramsland is a professor of forensic psychology at DeSales University in Pennsylvania, where she also teaches criminal justice and serves as the assistant provost. She holds a master’s in forensic psychology from the John Jay College of Criminal Justice, a master’s in clinical psychology from Duquesne University, a master’s in criminal justice from DeSales University, and a Ph.D. in philosophy from Rutgers. She has been a therapist and a consultant. Dr. Ramsland has published over 1,000 articles and 66 books.

Dr. Ramsland’s background in forensics positioned her to assist former FBI profiler John Douglas on his book, The Cases that Haunt Us, to co-write a book with former FBI profiler, Gregg McCrary, The Unknown Darkness, to collaborate on A Voice for the Dead with attorney James E. Starrs on his exhumation projects, and to co-write a forensic textbook with renowned criminalist Henry C. Lee, The Real World of a Forensic Scientist.

For seven years, she contributed regularly to Court TV’s Crime Library, and now writes a column on investigative forensics for The Forensic Examiner and a column on character psychology for Sisters in Crime; offers trainings for law enforcement and attorneys; and speaks internationally about forensic psychology, forensic science, and serial murder.


The Call You Get is Not Always the Call You Get: When a Routine Death Investigation Crosses State Lines and Multiple Jurisdictions

Case Study – On Valentine’s Day, 2014, the staff of a local dialysis clinic were worried. One of their elderly patients had missed three appointments. They called 911 and asked if officers could check on their patient, wondering if maybe he’d fallen and needed assistance. When officers arrived on scene, they found the elderly patient deceased from an apparent medical apparatus failure. At least that’s what it looked like at first; however, they’d uncovered a homicide. This convoluted investigation took Lisa Provost and members of her CSI team two states away during their investigation.

Instructor – Lisa Provost, Aurora Colorado Police Department Forensic Supervisor

Lisa Provost began studying Forensic Biology at Guilford College, in Greensboro, N.C., where she received a bachelor’s degree in Forensic Biology. In December 2012, she joined the Fayetteville Police Department as a Forensic Technician. 

During her time as a Forensic Technician trainee, Lisa completed a six-month instruction program with the Fayetteville Police Department which culminated with a one-week exam and oral review board. With the training and testing behind her, Lisa began working the road. Her passion for learning and for her work were the catalysts that pushed her to attend advanced training courses, in earnest. In May 2015, she was promoted to Forensic Supervisor overseeing Fayetteville PD’s Forensic Unit. 

Four years later, Lisa accepted a position with the Aurora Colorado Police Department as a Forensic Supervisor. So, she and her husband, an Air Force veteran, packed their belongings and moved to Colorado.

 In 2016. Lisa attended the Management Development Program at the N.C. Carolina Justice Academy. In its twenty-eight-year history, at the time the program was held, Lisa was the only civilian accepted into the program and, of the nineteen attendees in the program, Lisa was the only female. The five-hundred-hour leadership training program was completed over an eleven-month period and, besides the completion of her bachelor’s degree, is one of her proudest achievements.

In addition, Lisa has completed over five-hundred-hours of forensic training that includes basic death investigation, child death investigation, advanced child death investigation, and officer-involved shooting investigations.

Lisa Provost was was born and raised in NY state where she started dating the man who would later become her husband. The couple married in 1998, the time when he enlisted in the U.S. Air Force. In 2003, when her husband’s enlistment was complete, they moved to North Carolina.


Little Known Facts About Crime Scenes 

An in-depth look at the problems and challenges with crime scene evidence such as fingerprints, arson, bite marks, and more. Instructor, Lisa Black

Lisa Black is the NYT bestselling author of 14 suspense novels, including works that have been translated into six languages, optioned for film, and shortlisted for the inaugural Sue Grafton Memorial Award. She is also a certified Crime Scene Analyst and certified Latent Print Examiner, beginning her forensics career at the Coroner’s office in Cleveland Ohio and then the police department in Cape Coral, Florida. She has spoken to readers and writers at numerous conferences and will be a Guest of Honor at 2021 Killer Nashville.

In her August release, Every Kind of Wicked, forensic scientist Maggie Gardiner and homicide detective Jack Renner track down a nest of scammers. www.lisa-black.com


More spectacular online workshops, seminars, and webinars are on the way!! Details TBA.