Have you ever wondered what it would be like to meet the real-life Jack Reacher, stunningly portrayed by Alan Ritchson, and to see him in action?
Another yes?
But meeting the living, breathing, and extremely muscular Jack Reacher/Alan Ritchson could never happen to me, you say …
Well, Lee Child and I (Lee Lofland) anticipated the last statement, the one where you thought you could not in a million years see Alan Ritchson in person. So Lee and I, by way of the Writers’ Police Academy, thought the proper thing to do was to make it possible for you to meet the star of the REACHER TV series.
But meeting Alan Ritchson didn’t seem to be quite enough to satisfy the needs of diehard REACHER fans.
So here’s what we did …
We’re offering to one extremely lucky person the opportunity to join Lee Child on the set for Amazon’s Reacher Season Two, sometime in the fall, and (hopefully!) show up as a background extra in the show.
Now, here’s how you can be the winner of this jaw-dropping, once in a lifetime prize.
Each year the Writers’ Police Academy hosts a raffle and auction with proceeds helping to offset the whopping expenses of producing the event. This jackpot opportunity, the REACHER PRIZE, is available by sealed bid. You do not have to attend the Writers’ Police Academy event to enter your bid. Although, sealed bids will be accepted at the June 2-5, 2022 Writers’ Police Academy.
To submit your bid by email, please enter REACHER BID in the subject line. In the body of the email please include your bid (in U.S. dollar amount), your name, address, and phone number. Then send the email to Lee Lofland at lofland32@msn.com
Bidding ends on June 19, 2022 at midnight EST. The winner of the REACHER Prize will be notified on June 21, 2022.
*The REACHER PRIZE – “Will involve international travel to Canada (expenses paid, but winner must provide passport and any necessary paperwork) and might be canceled if Covid affects travel or local regulations. If canceled, the winning bid will be refunded.” ~ Lee Child
2022 Writers’ Police Academy Updates
Changes to the 2022 WPA Schedule
Steve Spingola, an investigator for the Oxygen Channel’s TV show Cold Justice, was scheduled to present a special session Thursday night. But he was suddenly called to testify out of state for a case he’d investigated as part of the television show.
Anne E. Schwartz
Replacing Steve is Anne Schwartz, the former Milwaukee Journal newspaper reporter who broke the story of serial killer Jeffrey Dahmer and wrote the book, The Man Who Could Not Kill Enough: The Story of Milwaukee’s Jeffrey Dahmer. Anne and the reporting team were nominated for a Pulitzer Prize. She’s since written and published an updated version of her book titled Monster, which is also the title of her Thursday night presentation, so hold on to your seats as Anne takes you behind the scenes and into one of the most heinous crimes of our lives.
Today, with more than 35 years’ experience, Anne E. Schwartz is the award-winning print and broadcast journalist, author, and internationally recognized trainer and advisor on strategic communication and public relations practices for Law Enforcement, Prosecutors, Tribal Police, Fire/EMS and others in Criminal Justice and Public Safety. With hundreds of presentations and training sessions internationally, Anne has a unique background in how to manage communications in a variety of scenarios as an expert in providing communication strategies in officer involved deaths and ensuing civil unrest.
Anne’s updated book was released in 2021 as “Monster: The True Story of the Jeffrey Dahmer Murders” with a new preface and final chapter, available for the first time in both audio and digital editions. Anne is featured in dozens of documentaries on the Dahmer case, on global TV networks and streaming services.
She has partnered with the U.S. Department of State Bureau of International Narcotics and Law Enforcement (INL), Department of Justice (DOJ), American Bar Association (ABA), United States Agency for International Development (USAID) and the National Association of Attorneys General (NAAG) to share communications best practices with criminal justice professionals in the U.S. and abroad. She has deployed to the countries of Albania, Armenia, North Macedonia, and the Republic of Maldives to provide training on best practices in criminal justice communications strategies. Anne has conducted training seminars for prosecutors and judges from Bosnia, Lebanon and Uzbekistan through the ABA Rule of Law Initiative. She is a communications/media trainer for the Wisconsin Department of Justice, and she is an Adjunct Professor in strategic communications at the National Criminal Justice Training Center.
“Monster,” by Anne E. Schwartz
Alan Hardwick, former police chief and member of an FBI counterterrorism task force, is the new featured speaker for the Friday night special session. Alan, a guitarist, saxophonist, and singer with the popular Seattle area musical group One Love Bridge, is also the entertainer for the Friday night meet and mingle. Yes, he’s his own opening act!
Allan Hardwick, former acting police chief and member of an FBI counterterrorism task force
Alan Hardwick’s presentation is:
COPS DOING COUNTERTERRORISM: LIFE IN THE JOINT TERRORISM TASK FORCE
In the aftermath of the terrorist attacks on 9/11/2001, state and local government officials around the country were faced with a sobering reality: the job of preventing and responding to terrorism was not solely the responsibility of the federal government. Moreover, the work of the 9/11 Commission revealed the problems of depending on select agencies with classified investigations: sharing the previously un-shareable with local partners was a necessary part of the solution. But should John McClaine be entrusted with exceptionally sensitive national security information? Which Jack has the need and the right to know? Bauer? Ryan? Reacher? Black? Sparrow? Retired Acting Assistant Chief Alan Hardwick discusses his experience transitioning from parking tickets and domestic disturbances to briefing the nation’s leaders on secret operations, along with the impact on local investigators who never dreamed they’d be in the middle of a secret war not only for their country, but for their own lives.
“A poignant and heartbreaking tale of one man’s fight to save himself and his family from the ravages of mental illness. Hardwick is wise, uplifting and utterly compelling. He challenges our fundamental beliefs about good parenting.”
– Robert Dugoni, International Best-Selling Author Of the Tracy Crosswhite Series.
Never Been This Close to Crazy, by Alan Hardwick
Marco Conelli is unable to make it to the event this year. Due to the late and unavoidable timing of the cancellation (last week) we were unable to secure a replacement instructor; therefore, attendees who signed up for Marco’s class were reassigned to a substitute session. We apologize for the inconvenience.
Rain or Shine
The Writers’ Police Academy is a “rain or shine” event. Some activities take place outside, so please bring and be prepared to utilize your rain gear, if necessary. Hopefully, we’ll see clear, sunny days.
BANGS and BOOMS!
Remember, the Writers’ Police Academy provides actual hands- on law enforcement training, some of which includes gunfire, sirens, squealing tires, and yes, we will be deploying explosive devices during the tactical entry sessions. So be prepared for unexpected loud bangs and booms.
Don’t be alarmed, though, it’s just writers having fun!
Thursday Afternoon Activities are Incredible
The Thursday afternoon session at the Fox Cities Exhibition Center features indoor displays, demos, and tours of police, fire, and marine vehicles and equipment, including SWAT drones, CSI, and a demonstration of how injured police canines are treated in the field.
Raffle and Auction items
As always, fun and exciting raffle and silent auctions items will be available at the event – the REACHER PRIZE, of course, Kindles, signed books, your name appearing in the next books of international bestselling authors Karin Slaughter and Charlaine Harris, registration to the 2023 Writers’ Police Academy event (over $500 value), three registrations (up to $300 value) to 2023 Writers’ Police Academy Online classes, television scripts, and more.
And the REACHER PRIZE, of course (priceless!).
See you on June 2-5, 2022, in Green Bay and Appleton, WI
Yes, the 2022 Writers’ Police Academy is spread out over two Wisconsin cities, and Oneida Tribal Land.
The event hotel is the Hilton Paper Valley (formerly Red Lion) in Appleton. Public Safety Academy classes are in Green Bay. We provide transportation to and from the academy. We also provide lunches while at the academy.
Are you also a fan of the REACHER Amazon Prime television series?
Yes?
Have you ever wondered what it would be like to meet the real-life Jack Reacher, stunningly portrayed by Alan Ritchson, and to see him in action?
Another yes?
But meeting the living, breathing, and extremely muscular Jack Reacher/Alan Ritchson could never happen to me, you say …
Well, Lee Child and I anticipated the last statement, the one where you thought you could not in a million years see Alan Ritchson in person. So Lee and I, by way of the Writers’ Police Academy, thought the proper thing to do was to make it possible for you to meet the star of the REACHER TV series.
Alan Ritchson as REACHER
But meeting Alan Ritchson didn’t seem to be quite enough to satisfy the needs of diehard REACHER fans.
So here’s what we did …
We’re offering to one extremely lucky person the opportunity to join Lee Child on the set for Amazon’s Reacher Season Two, sometime in the fall, and (hopefully!) show up as a background extra in the show.
Now, here’s how you can be the winner of this jaw-dropping, once in a lifetime prize.
Each year the Writers’ Police Academy hosts a raffle and auction with proceeds helping to offset the whopping expenses of producing the event. This jackpot opportunity, the REACHER Prize, is available by sealed bid. You do not have to attend the Writers’ Police Academy event to enter your bid. Although, sealed bids will be accepted at the June 2-5, 2022 Writers’ Police Academy.
To submit your bid by email, please enter REACHER BID in the subject line. In the body of the email please include your bid (in U.S. dollar amount), your name, address, and phone number. Then send the email to me at lofland32@msn.com.
Bidding ends on June 19, 2022 at midnight EST. The winner of the REACHER Prize will be notified on June 21, 2022.
*The REACHER Prize – “Will involve international travel to Canada (expenses paid, but winner must provide passport and any necessary paperwork) and might be canceled if Covid affects travel or local regulations. If canceled, the winning bid will be refunded.” ~ Lee Child
*I’m extremely grateful to Lee Child for his overwhelming support over the years. His extreme yet humble generosity is most often unseen by you, but will always be remembered by me.
https://leelofland.com/wp-content/uploads/2022/05/and-YOU24.jpg367550Lee Loflandhttps://leelofland.com/wp-content/uploads/2017/04/the-graveyard-shift-1.pngLee Lofland2022-05-19 11:33:382022-05-20 22:12:08Here’s How YOU Can Meet Jack Reacher!
Before I begin I’d like to point out that REACHER the TV show, like the Jack Reacher books, contains quite a bit of over the top action. There’s a fair amount of fighting and violence. That’s what makes the Reacher legacy what it is. Reacher is an over the top guy who handles his business in an over the top way using over the top tactics and techniques.
However, the show shows feature live actors portraying law enforcement officers. Obviously, in an over the top depiction of crime and crime scenes, certain liberties must be taken to fit the main character, over the top Jack Reacher. Still, much of what we see and hear regarding the police officers on this show ring fairly true—mannerisms, cop-speak, how they hold weapons, drive a patrol car, handle themselves in deadly situations, etc. So “over the top” aside, let’s take a look at REACHER: Season 1 Episode 2 – “First Dance.”
Off we go …
Part of Reacher’s character is that he sticks up for the little guy. He’s generous with his compassion for those who can’t take care of themselves, which is no surprise knowing Lee Child. Obviously, the author of the novels, who himself has a heart of gold, transferred a piece of that heart to Reacher.
Reacher’s compassion for those whose current position in life is significantly less than fortunate, part of the great layering when building the character, appeared when he encountered a dog who’s abused by its owner. Reacher fills the thirsty dog’s bowl with fresh water and then in true Reacher style let the owner know that he’s taken a keen interest in the dog’s wellbeing.
But that’s just one aspect of Jack Reacher. We continue to learn more about the character as time and dialog and mannerisms pass.
At the conclusion of episode one, we saw Finlay, Roscoe, and Reacher traveling through the countryside, where Reacher said, “Just thinking maybe my brother told me about Blind Blake for a reason. Thinking about him lying in that morgue. Thinking I’m supposed to do something about it.”
“Like what?” said Finlay.
“I guess I’ll find everybody responsible. And kill every last one of them.”
First Dance
Episode two opens in the evening, after dark, with the trio arriving back at the Margrave Police Department. Reacher gets out of the car and storms off on foot heading to the home of Paul Hubble, the likely target of the prison murder attempt. Fortunately for the slim and bookish Hubble, the attackers mistook Reacher as the intended victim. Unfortunately for the attackers, they mistook Reacher as the intended victim. The mistaken identity is confirmed in a later visit to Hubble’s home.
“Where do you think you’re going?, Finlay said to Reacher’s back as he walked away. “Reacher! Reacher, get back here!”
“Maybe give him some space,” Roscoe said.
“I don’t need 250 pounds of frontier justice tearing up this town. Follow him, make sure he doesn’t ruin our case.” said Finlay.
“Why me?”
“Outside the morgue he actually listened to you.”
“And what if he doesn’t now?”
“Shoot him.”
So Roscoe attempts to pursue Reacher, driving her patrol car at the pace of a snail heavily medicated on Valium. The scene is a great example of the mood and setting when working patrol at night.
The world looks different from inside a police car, with the various shades and colors of lights winking and blinking combined with monotone voices spewing softly from the radio speaker.
Looking out from Roscoe’s patrol car as she “followed” Reacher
Working the night shift as a patrol officer is an experience like no other. It’s a side of the city most people never see.
From my article, “WORKING THE GRAVEYARD SHIFT: FERAL DOGS, MANNEQUINS, AND LULA MAE”
“Your headlights wash over the back of an alley as feral dogs and cats scramble out of the dumpster that sits like an old and tired dinosaur behind Lula Mae’s Bakery. The knot of hungry animals scatter loaves of two-day-old bread in their haste to escape the human intruder who dared to meddle with their nocturnal feeding.
A mutt with three legs and matted fur hobbles behind a rusty air conditioning unit, dragging a long, dirty paper bag half-filled with crumbled bagels that spill and leave a trail of stale nuggets in its wake. Tendrils of steam rise slowly from storm drains; ghostly, sinewy figures melting into the black sky. A train whistle moans in the distance.
The night air is damp with fog, dew, and city sweat that reeks of gasoline and sour garbage. Mannequins stare out from tombs of storefront glass, waiting for daylight to take away the flashing neon lights that reflect from their plaster skin.
You park at the rear of the alley, stopping next to a stack of flattened cardboard boxes, their labels reflecting someone’s life for the week—chicken, lettuce, disposable diapers, and cheap wine.
Roscoe lost sight of Reacher, so she creeps through the neighborhood with ominous horror-movie-esque music playing in the background. She’s glancing to the side, scanning the area for signs of Reacher, when he suddenly appears in front of her car. After jamming the brake pedal to the floor to avoid hitting Reacher who’s standing mere inches from the front bumper, she and Reacher have a discussion. He’s not happy that she’s following him.
Reacher – “I don’t need a babysitter and I don’t need you screwing up my investigation.”
Roscoe – “Okay, first… this is not your investigation. Second, babysitting some giant vagrant is hardly my dream assignment. I could be out there looking for who killed your brother. So stand down and let me do my job, because I’m very good at it. ”
Reacher – “If you were very good at it, you wouldn’t have been trying to follow a man on foot in a police car.”
Roscoe’s argument is valid. Following behind a pedestrian, while driving a marked police car is a goofy thing to do. But I’ve seen supposedly savvy adult law enforcement officers driving along, trying to be discreet, while following suspects who are on foot. They’re either one round short of a full magazine, or they’re lazy. No matter the reason why, it’s not a good tactic.
Totally unrelated, this reminded me of back in the day when I was a field training officer. When I had a brand new officer in the car (many old-timers will back me on this one), if we initiated a traffic stop or saw a wanted person and the subject suddenly ran, well, rest assured I sent the rookie chasing after them, on foot, while I drove like a bat out of hell to the next block, across a vacant lot, a parking lot, etc. to “cut ’em off at the pass.”
Fun Fact -After academy graduation, new officers enter into the second phase of their training, where they receive on the job training under the watchful eye and guidance of a certified Field Training Officer. When they’ve satisfactorily completed the field training program the new officers are ready to hit the streets on their own. The Field Training program was developed in the early 1970s by the San Jose, Ca. Police Department.
After a bit of back and forth, Roscoe convinces Reacher to let her drive him to Hubble’s house.
Once Reacher is seated in the car he turns to Roscoe and said, ” I’m not a vagrant, I’m a hobo.”
Roscoe replied, “Whatever.”
Hubble’s House
Hubble is not at home so Roscoe and Reacher chat with with wife. The nonchalant fact-seeking banter is good, and realistic.
Reacher reveals to Hubble’s wife that her husband’s phone number was located in the shoe of Reacher’s deceased brother Joe.
Reacher notices that one of the Hubbles’ two daughters, like their father, wears glasses. This is the “aha” moment when Reacher realizes that it was Hubble, not he, who was the target of the attack at the prison.
Reacher asks to use the restroom, an excuse to search for clues, which he finds— a Velcro-like agrimony seed pod, commonly called a hitchhiker, found in the mudroom stuck to a lace in one of Hubble’s dress shoes.
Hubble’s missing. Reacher believes he’s either on the run or the villain has abducted him.
Roscoe and Reacher visit the scene where Joe Reacher was killed.
Reacher – “Gun had a silencer on it, which makes even close-range work inaccurate, but he got a kill shot.”
The addition of a silencer probably doesn’t affect the accuracy of the pistol; however, the added weight could affect the handling of the weapon—ability to hold it straight and level, etc. Those factors could affect accuracy, unless the shooter is familiar with the silencer-equipment handgun, and has practiced shooting with the suppressor attached.
Reacher crouched among tall weeds to get a feel for the scene from the position and eyes of Joe Reacher’s killer. This was a great detail. The tactic is one I regularly employed as a police detective. Viewing the scene from the suspect’s position can help spot crucial details you might otherwise miss.
Reacher – “This is where he hid. He enjoyed it. sniper shot from the tree line would have done the job with less risk. The shooter wanted to be close.”
Roscoe – “Maybe it was personal.”
Reacher – “Someone takes your life, it’s always personal.”
The conversation turns to small talk, something Reacher interprets this as Roscoe trying to illicit information to help the department’s investigation into Reacher’s possible involvement in the murders.
Reacher – “Small talk to see if I say something to help your investigation?”
Roscoe – “I’m being nice to a guy who just lost his brother. But, you know, now that you brought it up, you might as well answer my questions.”
So Reacher opened up a bit about his and Joe’s lonely childhood, that Joe was most recently employed by Homeland Security but wasn’t sure which department. Roscoe asked Reacher if he thought Joe’s murder could be linked to his job., but Reacher said they hadn’t spoken for a while so he didn’t know.
Reacher left the scene walking, on his way to find a hotel room.
The hotel parking lot. If fighting is your thing, then here’s a nice one. Quick, too.
Reacher goes into the hotel office where he checks in. On his way out he’s greeted by a group of four young men who’ve consumed a couple of six-packs of beer while waiting for Reacher to arrive. Their mission, assigned to them by the villain of the story, was to inflict bodily harm on Reacher. I’ll pause while you chuckle at the thought of those five unsuspecting men contemplating an outcome of anything short of their own pain and misery.
The cocky leader of the group of thug wannabes said to Reacher – “You’re about to get your ass kicked.”
Reacher replied, “No. I’m just gonna break the hands of three drunk kids.”
Leader – “There’s four of us here.”
Reacher – “One of you has got to drive to the hospital.”
So, the leader of the group took a swing at Reacher and Reacher quickly made good on his promise of breaking the bones of three of the dumb, dumb, dumb men.
The fourth member of the group, the one who still had two good wrists and arms, held his hands in the air and wisely said to Reacher, “Ooh… I-I know where the hospital is.”
Roscoe, who’d been watching from a distance, said to herself, about Reacher, “What the hell just rolled into Margrave?”
A dog without water
The next day, as Reacher walks by the house of the thirsty dog and sees the animal’s bowl is once again empty. So he hops the picket fence and fills it from a hose. The owner steps outside and confronts Reacher who’s squatting beside the dog.
Dog owner – “Can I help you?”
Reacher – “No. Just giving your dog some water.”
Owner – “He must’ve knocked the bowl over, ’cause I gave him water this morning.”
Reacher – “No, you didn’t. Bowl was bone-dry.”
Owner – “You calling me a liar?”
A beat passed and then Reacher said, “Yes.”
Dog owner – “Well, I suggest you leave my property.”
Reacher pats the dog. “Good boy.”
This guy, the irresponsible dog owner, is pushing all the wrong buttons, something he’ll soon regret.
By the way, there is no shortage of cops who love animals who are quick to come to their defense when they’re mistreated. Animal control officers are frequently called by police officers who witness abused and mistreated animals. This often occurs when officers enter homes while serving search warrants or responding to complaints/calls. It is when they’re inside the home or in backyards, places not typically in public view, that such appalling abuse is discovered.
Margrave police chief is brutally murdered.
Margrave police chief Morrison is stripped naked, brutally murdered, and nailed to the wall with six spikes. Part of his male anatomy was severed and subsequently forced down his throat and into his stomach. The chief’s wife is also killed. The medical examiner asks where the body part could/would be located and Reacher replied, “In his stomach. You’ll find them during the autopsy.”
Yes, it would take a bit of strength to hold a man that size a few feet off the floor while hammering spikes through his arms and legs. Reacher easily explained it by saying it took at least four to do that to a guy Morrison’s size.
The people Hubble worked for said they’d nail him to a wall. Nailing the chief to a wall sent a very clear message to the people within the villain’s organization—screw up and you will find yourself in the chief’s shoes, or lack thereof. Reacher thinks Hubble may already be dead.
Mayor Teale, as crooked as he is a dead ringer for Colonel Sanders, the king of fried chicken, appoints himself as the new police chief.
Mayor/Chief Teale
Reacher, Roscoe, and Finlay come to the conclusion they cannot trust anyone in the department outside of their trio. One, if not all Margrave police officers are dirty, as was the chief.
A man named Kliner practically owns Margrave, from the lovely town square to nearly every major business. It’s his money that allows the town to survive, and it is he who controls the police department.
Kliner speaks at a town meeting called by Mayor/Chief Teale, a meeting designed to calm the fears of citizens who fear a serial killer, probably Reacher, is loose in their sleepy corporate limits. Kliner tells the people, “I have faith in our police force. I have faith in Chief Detective Finlay. I have faith in our new chief of police, Mayor Teale. And I promise I will provide whatever funds, whatever resources to find whomever is responsible for these heinous acts. You have my word.”
Kilner
After the meeting, Teale, the newly self-appointed crooked chief of police, sends Finlay on wrong path, steering him away from the murder investigation of Reacher’s brother.
Finlay to Reacher, speaking of Teale – “Just sent me off to chase my tail.”
An FBI agent called Picard, a former friend of Finlay, is called to assist. His job is to take Hubble’s family (Hubble is missing) to a safe place and guard them while Finlay, Reacher, and Roscoe sort out the situation. Picard once told Finlay to not take the job in Margrave.
Reacher takes Hubble’s car and calls Spivey, the prison guard who set up he and Hubble for the prison beat-down, to arrange a meeting. When he arrived he learns Spivey set him up for an ambush, where he’s cut during a knife fight. But, like real life police officers and soldiers, Reacher fights to win and to survive. Losing is not an option. He later told Finlay, while Roscoe closed the knife wounds on his back using Superglue, the two men who attacked him had to be special forces from South America.
Reacher – “Probably military or ex-military—South American.”
Finlay – “How could you know that?”
Reacher – “‘Cause if they weren’t I would’ve killed them within ten seconds.”
Finally – “How’d you know they were South American military?”
Reacher – “Spoke Spanish, had Glock-17s and the technique one guy used to head-butt me was from a martial art hardly anyone uses it except branches of South American special forces. Plus, if they weren’t, I would’ve killed them within ten seconds.”
Roscoe – “Why would South American military be involved in this?”
Reacher – “Don’t know. You ever see anyone like that around Margrave?”
Finlay – “Not till you showed up.”
Reacher – “Then they’re hired muscle. Not running the show.”
Later, and here’s the romance du jour, Roscoe and Reacher head out of town for a bit of R&R and to lay low. They take Roscoe’s pickup truck to a roadhouse across the border in Alabama where the pair have a beer and a belly-rubbing’, gazedeeply-and-longingly-into-your-dance-partner’s-eyes slow dance to Patsy Cline’s classic song, “Crazy.”
Roscoe – “Uh-oh. They’re playin’ Patsy. You know what that means. Means we got to dance. Practically the law.”
Reacher – “I don’t dance.”
Roscoe – “You’re telling me that your mama never taught her sons how to dance?”
Reacher – “She did, but when I ask people to dance, it usually precedes a lot of punching.”
Roscoe – “Good thing I’m doing the asking. Come on …”
It’s a rainy night, a deluge, actually, which leads to a road closure and the pair are forced to spend the night in a hotel room, together. Reacher is shirtless and sleeps on the floor. Roscoe takes the bed wearing only a t-shirt and underwear. But the magic moment was not to be. Not this night.
The next morning Roscoe and Reacher go to Roscoe’s house and find her home burgled and ransacked, complete with muddy footprints on the carpet. Roscoe enters with pistol drawn and Reacher clutching a knife and ready to do battle.
They clear the house, and yes, that is what is sounds like as officers move from room to room making sure no one is hiding. They shout, “Clear! when they’ve determined no one is under a bed, in a closet, behind a shower curtain, or behind a door, etc.
Reacher believes the intruders may have been there to kill him or both of them. As they close the door they discover the words “See you soon” carved on the inside of the wooden door.
“I’m going to need a gun,” Reacher says.
Again, good cop chemistry and mannerisms from the actors, and great writing and adaptation of the books. A lot of violence? Sure. But hey, it’s Jack Reacher, a human bulldozer in a china shop.
Here’s a bit of trivia – Do you recognize this crooner who sent Paula Abdul’s heart aflutter during an early American Idol audition?
https://leelofland.com/wp-content/uploads/2022/04/reacher-review-s12-right2.jpg355533Lee Loflandhttps://leelofland.com/wp-content/uploads/2017/04/the-graveyard-shift-1.pngLee Lofland2022-04-01 22:39:332022-04-01 23:14:41REACHER Review: Season 1 Episode 2 – “First Dance,” A Review of Police Procedure and Forensics
When Jack Reacher stepped into our living room several days ago I knew I wanted needed to bring REACHER to this blog, and to you. There are many intricate details in the show that mirror real police officers and how they carry themselves. I’ll highlight those characteristics. I’ll also point out the things that aren’t quite realistic to help you, the writer, avoid making similar errors in your books.
Before I begin with the the second part of the review of episode one, Welcome to Margrave, I’d like to once again mention that I discussed this endeavor with Lee Child, Reacher’s creator, to make certain I had his blessing to review the show. He gave his approval without hesitation.
So, without further ado and with a hearty thanks to Lee Child, off we go. But first a disclaimer – HERE’S YOUR SPOILER ALERT!
NOTE – Part One of Welcome to Margrave was an introduction of the main characters in season one and how well the actors played the part of law enforcement officers. Part Two is an examination of the law enforcement procedure and forensics used in the episode. In addition, I’ve included a few details of interest. Welcome to Margrave is the only two-part review. After Part Two (today) I’ll post an episode review on Friday of each week.
Please keep in mind that REACHER is a television show that has less than one hour to tell a complete story and deliver nail-biting action and a bit of romance, introduce characters and setting, stimulate the emotions of viewers and, well, you get the idea. Obviously, in order to achieve the goal of having viewers want to want the show certain liberties with facts must be taken to hold our interest.
Reacher and Blind Blake
This review can’t begin without mentioning the purpose of Reacher’s visit to Margrave, his love of music, especially the blues. During his initial interview with Detective Finlay, Reacher said he caught a bus in Tampa the previous night, traveled over 500 miles, and when the bus reached the road to Margrave he asked the driver for the favor of making an unscheduled stop to let him off.
Finlay asked why the choice to exit the bus on the main road to then walk 14 miles to Margrave.
Reacher responded, “On account of Blind Blake.”
Reacher’s answer clearly irritated Finlay. “Okay, who’s that?” he said, adding a bit of dramatic tough-guy rasp to his typically smooth but authoritative voice. For emphasis he combined the gruff tone with a slightly priggish side-to-side “oh-no-you-didn’t-go-there” head shake. Typical cop behavior.
“Blues singer,” Reacher said. “Legend has it he died in Margrave a long time ago. I figured I’d learn a bit about him.” A beat passed, then he nodded his head a couple of times and added, “I like music.”
Arthur “Blind” Blake was indeed a real person who is often referred to as ‘King of the Ragtime Guitar.’ His idiosyncratic playing style was quite complex and unique. For many years it was believed that Blake was born in Florida. However, in 2011 discovered documents proved he was born in 1896, in Newport News, Va.
Blake’s talent took him on the road playing music in southern states, including on the streets of Jacksonville, Florida. But he eventually migrated to Ohio and then Chicago where, in 1926, he landed a recording deal with Paramount Records. Paramount eventually moved their studios to Milwaukee, Wi. where Blake recorded with them until 1932. Blind Blake died in Milwaukee on Dec. 1, 1934.
A bit of fun trivia – Lee Child is blues fan. So much so that he collaborated with performing songwriter team Jen and Scott Smith, and their band Naked Blue, on the Jack Reacher inspired album “Just The Clothes On My Back.” Click here to listen to their song “Killing Floor.” As you know, “Killing Floor” is the book the first season of the REACHER television series is based upon.
Child’s music interests vary and includes country music. A few years back, while at the Writers’ Police Academy, Lee bid an extremely generous amount of money to win, at auction, a guitar signed by country stars Lady Antebellum (now Lady A), KeithUrban, Brad Paisley, Vince Gill, and The Oak Ridge Boys.
Now, for the police procedure and forensics in Welcome to Margrave
The Diner – Reacher is seated in a corner booth, about to enjoy a forkful of what is, according to the server, “the best peach pie you ‘gone find in Georgia.” Two officers drive up to the diner with red and blue lights winking and blinking and flashing, and sirens blaring. One parks near the front the door, gets out and racks a shell into the chamber of a shotgun, all while staring at Reacher through the front plate glass window of the restaurant. The second officer fishtails his patrol car into the gravel lot like a Nascar driver after “trading paint” at the Daytona 500. Needless to say, the officers came in hot, which is not a great tactical move if you want to sneak up on a dangerous criminal, or to avoid a potential hostage situation.
The phrase ‘trading paint’ is a colloquialism for the event when 2 racing automobiles bump against one another often causing the paint from each vehicle to be transposed onto the other. – Wikipedia
Reacher sensed the highly-strung and intense officers were coming for him. His acute and highly-developed situational awareness went to work telling him to immediately scan the diner—a happy couple seated in a booth at the front window directly in front of him, their server, two playful young boys at the counter, the cook, and the woman who’d brought Reacher the slice of peach pie and coffee. Had he been the desperate murderer the cops anticipated, he’d had his pick of hostages.
It was obvious, though, that Reacher, not a killer, was concerned for the safety of the employees and diners, and that any sudden moves by him could result in innocent people being harmed. So Reacher calmly placed his hands, palms down on the table, and waited for the nerves-on-edge-officers to do exactly as he expected, rush inside with emotions high and loaded guns drawn and pointed at him. Both had a clear case of adrenaline-induced tunnel vision and were focused solely on Reacher, a very large and muscular man who they believed had brutally murdered a man just a few hours ago. The officers were so clearly fixated on Reacher that the safety of the others did not enter their minds. Not good police procedure, but this is important for writers to know because tunnel vision is a very real problem for officers who’re involved in high-stress, possible life-threatening situations. The scene was great, and provided tons of details about the two officers that would play out later in the series.
Both officers held their index fingers outside the trigger guards. This is proper procedure to avoid accidental discharges.
Not evacuating the diners and staff before having Reacher exit the booth and stand was not tactically sound. If Reacher had been an armed bad guy intent on shooting it out with police chances were great that innocent people could have been wounded or killed. Again, this was a great inside look at the mindset of the two officers, and their backstory (little experience and lack of ongoing training, which could be an issue in the real world).
This scene alone added several important and vivid layers to the setting and characters. This was the moment that showed us what to expect in the town of Margrave. It was as eye-opening as the scene in the Wizard of Oz when the movie switched from black and white to color. It also spoke quite loudly about Reacher—stoic, serene, cool under pressure, and naturally intimidating.
The Police Station – The plaques, awards, and certificates hanging on the lobby wall, along with official department photos of the five Margrave PD employees—chief, three officers, and detective—was nice attention to detail. It’s quite possible you’d see this sort of thing in small town departments. Another popular wallhanging seen in police agencies is a framed collection of patches collected from departments from around the world.
During Finlay’s interview with Reacher he said, “I was informed you were read your rights, so you know you don’t have to answer.” Wisely, Reacher maintained silence.
In the real world where actors aren’t limited to brief scenes to conduct police business, Finlay would’ve again informed Reacher of his rights according to Miranda and had him acknowledge that he understood those rights. This is something that should be done any time there’s a break between significant periods of questioning and/or when a different officer begins a new interview session.
Again, Finlay is an actor who had mere seconds to get through the scene. The show is not an instructional guide for police officers, but this is something crime writers should know.
MIRANDA FACTS
Officers should repeat the Miranda warnings during each period of questioning. For example, during questioning officers decide to take a break for the night. They come back the next day to try again. They must advise the suspect of his rights again before resuming the questioning.
If an officer takes over questioning for another officer, she should repeat the warnings before asking her questions.
If a suspect asks for an attorney, officers may not ask any questions.
If a suspect agrees to answer questions, but decides to stop during the session and asks for an attorney, officers must stop the questioning.
Suspects who are under the influence of alcohol or drugs should not be questioned. Also, anyone who exhibits signs of withdrawal symptoms should not be questioned.
Officers should not question people who are seriously injured or ill.
People who are extremely upset or hysterical should not be questioned.
Officers may not threaten or make promises to elicit a confession.
Subsonic Bullets – A sticking point for avid shooters, I’m sure, was when Reacher told Finlay the shooter was someone who knows firearms well, and that the bullets were small caliber, 9mm 95 grain. “That’s subsonic,” Reacher said. “A silencer was used. He also knew enough to pick up his brass.”
The difference between subsonic and supersonic rounds is that subsonic ammunition travels slower than the speed of sound (1,100fps); therefore, it won’t break the sound barrier which produces the sonic crack most people associate with traditional supersonic gunfire. Supersonic bullets travel faster than the speed of sound.
Loading a 9mm round as subsonic with a lighter 95 gr. bullet could cause the firearm’s action/slide to not cycle, essentially allowing the pistol to fire only once without manually cycling another round into the chamber. Even 115 gr. rounds have been known to cause cycling problems.
FYI – Back in the day, I loaded my SIG Sauer (duty weapon) with subsonic 9mm 147gr. Hydra Shot Plus P ammo.
Perp – Reacher, to Finlay, after Reacher was released from the holding cell. “Outside. Uncuffed. Treating me like a person instead of a perp?”
Not many police officers use the shortened form of the word perpetrator. Instead, they use the more common terms, suspect, actor, or ***hole. Listen to police scanners and you’ll rarely, if ever, hear an officer say, “We apprehended the perp at 0100 hours.” Typically, it’s, “We apprehended the suspect/subject at 0100 hours.”
Perp is generally a specific, regional term. I’ve heard it used more in the New York and Boston areas more than any other location, especially the south. Still, it’s not used by all officers. TV and film writers use it without shame.
FYI – the term perpetrator is NOT to be confused with the closely-sounding “percolator.” Confusing the two could prove to be quite embarrassing.
Yes, I once saw the perpetrator/percolator faux pas in a manuscript. Imagine reading a book written by your favorite author and you see this on page 47 – “10-4, Captain, the percolator who robbed the hot dog stand was bald, short, and stocky.
By the way, you’ll probably not hear the other, more colorful term “a**hole” used on the police radio. It and other profanity are not supposed to be spoken on the air, but when the adrenaline is high and the bullets are flying, well, you just might hear anything.
“The a**hole just fired two rounds at me! Send &*%@ing backup. NOW!!”
Reacher in prison – The local PD doesn’t have an onsite holding cell designed for housing prisoners overnight, so the decision was made to ship Reacher and Paul Hubble, a person who falsely confessed to killing the same person police accused Reacher of slaying, are hauled, by bus, to the local prison to spend the weekend. The villain’s plan (yes, this story has a villain) was to have a group of prisoner “take care” of Reacher and Hubble. Hubble, by the way, was forced to help the villain and his ring of bad guy henchmen with their financial scheme. The bad guys promised to torture and kill Hubble and his family if he didn’t do as they demanded. The plan to “take care” of tReacher and Hubble, thanks to Reacher, didn’t go as planned, though. More on this in a moment.
Back to the bus ride to prison – The complete occupancy of the bus included Reacher, Hubble, and the bus driver. Reacher and Hubble were cuffed to a chain attached to the seat-back in front of them. An actual transport to prison, though, involves a bit more security than a lone bus driver with prisoners accused of murder seated behind them. Often, there’s an armed officer stationed in a secure cage at the rear of the bus, and an unarmed officer, or two, in the front. However it’s done, it’s never just a bus driver and prisoners. But this is a TV show and extras cost dollars.
When the bus arrived at the prison, the driver drove it into the sally port. He stopped the bus, opened the door, and Reacher stepped outside followed by Hubble. Officer Spivey, a scrawny corrections officer, met the two prisoners as they exited the bus. It was he who booked the two men and assigned them their prison clothing, and it was he who ordered the men to strip to allow him to search for contraband.
Reacher refused the strip search, saying blanket searches are unconstitutional. However, since Reacher and Hubble were both arrested for murder, a violent crime, they, in the real world, would be required too submit to a strip search. Safety and security is a priority.
Sourse – Georgia Sheriff’s Association
Prison fights – Yes, inmates do indeed size up the newcomers, and those who are a bit timid and of slight stature often don’t fare very well unless, of course, they can prove themselves valuable in some way other than serving physical wants and needs. Or, unless they have a Hulk-like friend who’s capable of bashing the faces of the top dog, the shot caller, and his entourage. Reacher, Hubble’s Hulk-like cellie aptly handles the first inmate who came calling for Hubble. Good fight scene. Brief, but good.
Next, the shower/restroom fight scene where Reacher finds himself surrounded by five burly inmates who are there to, as they’d say in the south, “stomp a mud hole in his a**.” One of the five is armed with a shank.
Reacher, calm and cool as always, said, “If you boys knew what’s about to happen to you, you’d leave now. So I’ll give you to the count of three. One—”
Using the tactical advantage of skipping the anticipated numbers two and three, Reacher took out four of the hitmen and then used his thumb to gouge an eye of the fifth, the guy with the shank. This is a fight scene that would do any crime fiction novel proud. Despite the fights being choreographed, the tactics used were sound.
The Eye Gouge
The rest of the show
When Reacher and Hubble are released from prison after the failed attempt to kill them, Roscoe is waiting outside to offer Reacher a ride. She takes him from the prison to a thrift store to purchase “new” clothes. She again asks why he decided to visit Margrave.
“‘Im here because of Blind Blake, but actually it’s on account of Chauncey.”
“Who’s Chauncey?”
“A couple days ago,” Reacher said, “I go to Chauncey’s Bar & Grill in Tampa. Guy there was playing “Police Dog Blues” by Blind Blake. I remembered a conversation I had with my brother Joe a while back. Read some article about Blake, said he played his last show in Margrave, and that’s where he died. So I got on a bus.”
Reacher’s pension is wired to him each month via Western Union.
Reacher heard the sound of Mississippi Fred McDowell ‘s blues music coming from inside Mr. Mosley’s barber shop, so he went inside for a shave. The two men chat about the legend of Blind Blake and then the conversation shifts to the Kilner family, the people villains who control the town.
Reacher walks to the police station where he learns a second body has been found, forty yards from the first. The victim was shot in the back of the head.
Reacher travels to the morgue with Finlay and Roscoe where he learns the victim is his brother, Joe.
A few minutes later, Reacher and Finlay exchange a few heated words. Roscoe intervenes before things get out of hand. Reacher, though, seems determined to punch Finlay into next week. And, despite the tremendous size difference and that one of Reacher’s upper arms is the size of Finlay’s waist, Finlay doesn’t back down. This is a characteristic seen in most real life cops. They don’t shy away from anyone when it comes to taking a suspect to jail. It’s part of the job and they’ll worry about the bruises another time.
Finlay is the real deal.
Roscoe pointed to Finlay’s unmarked police car and said, “Okay, this isn’t gonna happen. Reacher, sit in the back. Hey. I know you’re not the kind of guy to beat up on somebody half your size without good reason.”
He’s giving me a reason,” said Reacher.
“Yeah? Well, I know people.,” said Roscoe. “And you’ve got kind eyes. Do what I say, Reacher. Please.”
The trio are next seen traveling through the countryside. They’re quiet and Reacher is staring out the window.
Roscoe said, “You okay, Reacher?”
Reacher replied, “Just thinking maybe my brother told me about Blind Blake for a reason. Thinking about him lying in that morgue. Thinking I’m supposed to do something about it.”
“Like what?” said Finlay.
“I guess I’ll find everybody responsible. And kill every last one of them.”
The scene switched to …
… and then faded away to the music of the Rolling Stones’ “Can’t You Hear Me Knocking.”
NOTE – This review and the others that follow in the coming weeks are solely for the purpose of pointing out proper police procedure and forensics, and the inaccuracies, if any of either. Again, this is to help writers learn what real and what’s not. Yes, I know it’s a TV show and not a documentary or police training film.
As always, keep in mind that TV is visual and certain liberties must be taken to capture and hold the attention of viewers within the brief timespan of a single episode. Authors, on the other hand, must activate a readers senses and take their fans on a journey using nothing more than written words. TV audiences tend to be more forgiving when characters perform actions that aren’t quite believable than are readers of books.
Since readers move through a story at a much slower pace than viewers of TV and film, they have far more time to detect and analyze things that aren’t quite accurate. Therefore, the need for an explanation, even one that’s totally fabricated in the author’s mind, about why the neighbor’s recliner has the ability to travel through time is more important than merely seeing it happen on TV. We’re used to seeing wacky, nonsensical stuff on television, but not in books without reading an explanation as to why something happened (My neighbor invented a way to have fruit trees grow upside side so people can pick apples, peaches, and cherries without having to use a ladder. The only drawback is that over ripe fruit now falls up, instead of down. As a result, gravity is a bit wonky, but Newton says we’ll adapt).
That’s all it takes to convince your readers, a reason to believe.
https://leelofland.com/wp-content/uploads/2022/03/crop-reacher-website2.jpg413800Lee Loflandhttps://leelofland.com/wp-content/uploads/2017/04/the-graveyard-shift-1.pngLee Lofland2022-03-27 18:08:032022-03-27 18:08:03REACHER Reviews: Welcome to Margrave – A Review of Police Procedure and Forensics, Part Two
Not since CASTLE and SOUTHLAND have I found a cop-type television series that stirred in me the desire to once again examine the police procedures and forensics used by TV officers … until now. Well, there was BOSCH, which is a wonderful series, but it came along when time was not on my side.
But Jack Reacher stepped into our living room several days ago and it was after watching for only a couple of minutes that I knew I wanted needed to bring REACHER to this blog, and to you. There are many intricate details in the show that mirror real police officers and how they carry themselves, and like the reviews of CASTLE and SOUTHLAND, I’ll pick apart those characteristics. I’ll also point out the things that aren’t quite realistic to help you, the writer, avoid making similar errors in your books.
Before I begin with the review of episode one, Welcome to Margrave, I’d like to mention that I discussed this endeavor with Lee Child, Reacher’s creator, to make certain I had his blessing to review the show. He gave his approval without hesitation.
So, without further ado and with a hearty thanks to Lee Child, off we go. But first a disclaimer – HERE’S YOUR SPOILER ALERT!
NOTE – This first installment of REACHER Reviews, Part One of Welcome to Margrave, is an introduction of the main characters in season one and how well the actors played the part of law enforcement officers. In Part Two of the review I’ll delve into the police procedure and forensics used in the episode. Welcome to Margrave is the only two-part review. After Part Two I’ll post an episode review each week.
REACHER: Welcome to Margrave – A Review of Police Procedure and Forensics, Part One
The series opened on a dark night with fittingly ominous music setting the mood. An assassin, using a pistol and silencer, shot Jack Reacher’s brother from behind as he ran through tall weeds. Once the prey was down the killer repeatedly kicked and stomped the victim, an obvious act of rage, and then covered the body with a sheet of cardboard.
The scene then faded to black as the menacing music grew louder, heading toward a nail-biting crescendo. At its peak, the driving beat suddenly switched to the sound of pouring rain and thunder, and then the screen filled with …
The much-anticipated show began and we were about to see Child’s character and stories come to life.
Fans of Lee Child’s novels know the protagonist, Jack Reacher, is big, strong, not much of a talker, and whose main mode of transportation is walking, and that’s how Reacher entered his Amazon Original debut.
Reacher, more than adequately played by Alan Ritchson (Titans, DC’s Legends of Tomorrow, Smallville as Aquaman, 90210, CSI: Miami) stepped off a bus in the middle of nowhere, in the pouring rain, and set out on foot (cue the blues music) with his boots clomping a steady cadence toward the southern town of Margrave, Georgia.
Then, as he approached the entrance to the Margrave Diner, he encountered a bully in the act of vocally abusing his girlfriend about the tip she left inside for their server. The abuse, in fact, teetered on the edge of becoming physical. Reacher, in true Reacher style, intervened and resolved the conflict using nothing more than his stature, a hard look, and without saying a single word. The bully, clearly intimidated by Reacher’s behavior, even apologized for his conduct, promising it wouldn’t happen again.
Reacher’s demeanor was a classic example of Command Presence, an important part of police work.
Be professional, and this includes updated training when available. A cop who knows his job inside-out projects more confidence. The same is true with physical training. Stay in shape and know, trust, and practice defensive tactics.
Good posture is important. The officer who stands straight and tall has an advantage over the officer who slouches. Poor posture often shows as weakness, especially when confronting an aggressive suspect.
Always make and maintain eye contact when speaking to someone.
Honesty and consistency are important traits. Bad guys will quickly learn that what you say is what you mean, every time.
Always treat everyone fairly and with dignity.
First impressions only come around once, so make it your best effort. If a suspect’s first impression of you is that you’re meek and weak, well, you can expect to have a rough day.
Size up everyone before interacting. Always be aware of who and what you’re dealing with and stay one step ahead of the person in front of you. Remember, the person standing before you may want to kill you, so be prepared to do what it takes to survive. Do this each time you encounter someone. No exceptions! You never know which person is the one who plans to do you harm.
Most importantly, believe in yourself. Have confidence in what you do and who you are. All the training and firepower in the world will not help you if you’re playing make believe. Bad guys will see through that in a heartbeat.
An officer who looks sharp, acts sharp, and is sharp helps an officer appear and feel confident.
Crooks size up officers and, like animals culling the herd, look for the weakest, and those are the officers who’ll most likely be dealing with escape attempts, lies, assaults, and other criminal tricks.
The above material could’ve easily been used as part of Reacher’s character development because Reacher’s entire being centers around Command Presence.
Ironically, I once wrote an article about police and the importance of command presence. In the article I also mentioned, “Civilians in authoritative positions should also exhibit a command presence, and many do so instinctively. Command presence also applies to public speakers, including writers when appearing at conferences and book signings and readings. One of the best in the business at the command presence game is author Lee Child. The moment Child enters a room you know he’s confident, poised, and in full control of each word spoken. He looks sharp, acts sharp, and, well, he is sharp. And it shows.”
So it’s perfectly understandable that Reacher shares mannerisms with his creator.
Back to the Margrave Diner
Inside, Reacher settles into a booth to enjoy a cup of black coffee (a staple of Lee Child’s diet) and a slice of “Georgia’s best” peach pie. But, before the first bite two Margrave officers enter the diner, one pointing a shotgun at Reacher and the other doing the same with a pistol. It’s important to note that both officers held their index fingers outside the trigger guards. This is proper procedure to avoid accidental discharges.
Reacher was then arrested for murder, restrained, and taken to the local police department for processing by Officer Roscoe Conklin.
Actor Willa Fitzgerald (Wall Street, Gotham, Scream, the TV series, Dolly Parton’s Heartstrings, The Fall of the House of Usher), does an exceptional job of accurately portraying a police officer, from the habit of resting her hands on her duty belt to absolutely oozing command presence.
Resting hands on the duty belt serves two purposes. One, it gives the officer something to do with their hands other than leaving them hanging and flopping in the breeze. Besides, all the do-dads on the belt cause the wearer to hold their arms up and out to avoid rubbing at the flesh on the insides of their forearms. It’s simply more comfortable to rest the hands and arms on the belt. Two, resting their hands near the tools they need to perform their duties has a logical and tactical purpose—having the hands near a firearm is especially important in case the unexpected happens.
Reacher’s arresting officers force him through the front doors of the department, still at gunpoint, where Conklin stands behind a lobby counter which also serves as a booking station.
“Sir, if you step over here, I can process you,” she said to Reacher, whose wrists are bound with a single zip tie because, according to one of the officers, “Cuffs didn’t fit ’em.”
Reacher didn’t immediately respond so Conklin continued. “I’m not asking, sir, I’m telling. But don’t worry, I won’t kick your ass unless you make me.” Her comment was directed to Jack Reacher, a hulk with biceps and triceps that look like two sledge hammers welded together. So yeah, Conklin, who stands at barely a whisper over five-feet-tall, wrote a whupass check to Reacher that she was prepared to at least attempt to cash. That’s command presence.
Conklin uses what appears to be an older Crossmatch fingerprinting terminal, or one similar, to record and enter Reacher’s prints into the system. Chief Edward Morrison, played by Peter Skagen (Lonesome Dove, Wynonna Earp, Heartland, Tin Star) jumps into the scene spouting off a series of rapid-fire who, what, and why questions about Reacher’s reasons for showing up in Margrave. Without missing a beat he threatened to stuff Reacher into a holding cell until he was ready to talk, and talking is something Reacher had yet to do, for well over six minutes into the show. Not a word. That span of six minutes let viewers know who Reacher was and what he was about—a man of few words and no nonsense. Brilliant, brilliant, brilliant writing and acting.
Detective Oskar Finlay is the next of the main characters to enter the scene. Finlay, a former Bostonian, came to Margrave to leave behind a painful memory. When Reacher strolled into town, though, Finlay quickly realized he’d stepped into a chaotic, violent world where Reacher, not the local police, guides the narrative and attracts enough trouble to make Finlay utter a few curse words, something he never did.
It was actor Malcolm Goodwin,(The Fugitive, iZombie, True Blood, House of Cards, Elementary, CSI, Law and Order: Criminal Intent), who brought us Oskar Finlay’s quirky personality, mannerisms, and style of investigating. He’s sharp, intuitive, thoughtful, methodical, and a by-the-book cop. Well, that’s the way he preferred to work. However, Finlay quickly learned to adapt to Reacher’s “bulldozer in a china shop” approach to resolving issues.
As a real life detective, I’d have been extremely pleased to have either Finlay or Conklin as a partner, as backup, or by my side during a door-kicking explosive entry into a building occupied by armed bad guys.
Producer/writer Nick Santora and Lee Child certainly delivered a television series that is certain to become one of the all-time top crime dramas, and it has it all—gun battles, muscles, romance, investigations, bad guys, bad cops, explosions, fight scenes, action, great characters, great story, great writing, humor, and more muscles and romance.
In a matter of minutes, Lee Child’s book, The Killing Floor exploded to life and never slowed down until Jack Reacher killed all the bad guys, and maybe a few extras in case, well, in case they needed killing. By the way, the “they needed killing” line was spoken by Jacker Reacher during his murder trial, a trial resulting from the time when I personally arrested Reacher and later testified in his trial. More on this in a later review.
NOTE – This review and the others that follow in the coming weeks are solely for the purpose of pointing out proper police procedure and forensics, and the inaccuracies, if any of either. Again, this is to help writers learn what real and what’s not. Yes, I know it’s a TV show and not a documentary or police training film.
As always, keep in mind that TV is visual and certain liberties must be taken to capture and hold the attention of viewers within the brief timespan of a single episode. Authors, on the other hand, must activate a readers senses and take their fans on a journey using nothing more than written words. TV audiences tend to be more forgiving when characters perform actions that aren’t quite believable than are readers of books.
Since readers move through a story at a much slower pace than viewers of TV and film, they have far more time to detect and analyze things that aren’t quite accurate. Therefore, the need for an explanation, even one that’s totally fabricated in the author’s mind, about why the neighbor’s recliner has the ability to travel through time is more important than merely seeing it happen on TV. We’re used to seeing wacky, nonsensical stuff on television, but not in books without reading an explanation as to why something happened (My neighbor spent three years converting his ratty old recliner into a time machine, using things he retrieved while dumpster diving. And it works! Just last week I tagged along on a trip to Woodstock. We arrived minutes ahead of Jimi’s performance, just as he was testing his Vox Wah pedal).
That’s all it takes to convince your readers, a reason to believe.
https://leelofland.com/wp-content/uploads/2022/03/crop-reacher-website2.jpg413800Lee Loflandhttps://leelofland.com/wp-content/uploads/2017/04/the-graveyard-shift-1.pngLee Lofland2022-03-16 18:34:012022-03-16 20:21:21REACHER Reviews: Welcome to Margrave – A Review of Police Procedure and Forensics, Part One
Predatory animals watch and stalk their prey before moving in for the kill. They’re extremely patient, waiting for the perfect target—the weakest animal in the pack—because the battle is easier.
Criminals often exhibit similar behavior when interacting with law enforcement. The cop who looks and acts weak—the meekest of the herd—often finds himself the target of all sorts of grief, from verbal abuse all the way to physical assault.
So what do cops do as a front line defense against all that unnecessary heartache? Well, for starters, they’re taught to have and demonstrate what’s known as Command Presence.
An officer who looks sharp, acts sharp, and is sharp, has an advantage over the officer who dresses sloppily and isn’t all that confident about their work. The latter are the officers who most often find themselves having the most difficulties on the street.
Command presence is all about being at the top of the game. Taking a few minutes to be sure your shoes, badge, and brass are polished goes a long way toward projecting a positive image. So does wearing a clean and neatly pressed uniform. And let’s don’t forget regular trips to the folks who cut hair for a living. The combination of these things help to make an officer look confident. Think about it … who would you trust more, the officer with the dirty, wrinkled clothing and shaggy hair, or the officer who looks fresh and sharp, stands straight and tall, and projects a solid air of authority?
Crooks size up officers the same way you do. However, they have other things in mind when they do. They, like animals culling the herd, watch, looking for the weaker officers, and those are the officers who’ll most likely be dealing with escape attempts, lies, and other criminal tricks.
Tips for developing a better command presence
Be professional at all times. And that includes updated training when available. A cop who knows his job inside-out projects more confidence. The same is true with physical training. Stay in shape and know, trust, and practice your defensive tactics.
Good posture is important. The officer who stands straight and tall has an advantage over the officer who slouches. Poor posture often comes across as weakness, especially when confronting an aggressive suspect.
Captain Randy Shepherd is a textbook example of Command Presence.
NWTC Public Safety Academy and Writers’ Police Academy firearms instructor. Another fine example of Command Presence.
Always make and maintain eye contact when speaking to someone.
Honesty and consistency are important traits. Bad guys will quickly learn that what you say is what you mean, each and every time.
Always treat everyone fairly and with dignity.
First impressions only come around once, so make it your best effort. If a suspect’s first impression of you is that you’re meek and weak, well, you can expect to have a rough day.
Size up everyone. Always be aware of who and what you’re dealing with, and stay one step ahead of the person in front of you. Remember, that person may want to kill you so be prepared to do what it takes to survive. Do this each and every time you come into contact with someone. No exceptions! You never know which person is the one who plans to do you harm.
Most importantly, believe in yourself. Have confidence in what you do and who you are. All the shoe-shining and training in the world will not help you if you’re playing make believe. The bad guys will see through that in a heartbeat.
Cops and Command Presence: What’s Up With That Look?
Colleen Belongea – NWTC Public Safety Academy and Writers’ Police Academy instructor, Green Bay PD (ret.), and current co-owner of Assured Private Investigations, a PI firm based in Appleton, Wi. Colleen’s partner,Jill Goffin, is also a NWTC Public Safety Academy and Writers’ Police Academy instructor.
Remember, command presence is only the first step in the “stay safe” equation. Others include:
Be aware of your surroundings. What can the bad guy use as a weapon? Does he have a friend lurking in the shadows? Do YOU have an escape route, if needed?
Officers must be prepared, without hesitation, to do what it takes to control a situation. Many times, all that’s needed to gain and maintain control is verbal instruction, and it would be wonderful if a handful of nouns and verbs were the ultimate “fix-all” tools. However, we don’t live in an always-happy world filled only with glitter, delicious chocolate, and smile factories. So, unfortunately, use of force will come into play during an officer’s career … many times.
Never, ever, be in the position where you’re forced to react after-the-fact to a situation you weren’t prepared to handle. If the situation is one where you absolutely must place your hands on a suspect, then be prepared to see the arrest through until the suspect is in restraints and tucked safely away in the rear compartment of your patrol car.
When encountering a violent suspect, think ahead and be prepared to increase the level of force used to effectively make the arrest. The idea is not to injure anyone. Instead, the goal is to engage, arrest, and restrain without unnecessary harm to anyone. If the suspect chooses to fight until there is only one person left standing, then be certain that person is you.
Effective command presence leaves no doubt as to who’s in charge of the situation, even without speaking a single word.
So wear the badge proudly, stand tall, and do what it takes to come home at night.
By the way, civilians in authoritative positions should also exhibit a command presence, and many do so instinctively. Command presence also applies to public speakers, including writers when appearing at conferences and book signings and readings. One of the best in the business at the command presence game is author Lee Child. The moment Child enters a room you know he’s confident, poised, and in full control of each word spoken. He looks sharp, acts sharp, and, well, he is sharp. And it shows.
Lee Child – Writers’ Police Academy
Another fantastic example of someone with fantastic command presence is author/former prosecutor Marcia Clark (yes, that Marcia Clark). Clark comes across as a take charge person, always in control no matter the situation.
Marcia Clark addressing the entire group at the Writers’ Police Academy
Both Lee Child and Marcia Clark are confident in what they do, but their personalities are also warm enough to transform even the largest iceberg to a puddle, even at a homicide scene (shallow grave workshop at the 2012 Writers’ Police Academy).
Lee Child and Marcia Clark – shallow grave workshop at the 2012 Writers’ Police Academy
So, you see, having command presence does not necessarily mean a person has to be tough and gruff, but can be when the situation calls for it.
After all, even the toughest of the tough have their tender moments.
GTCC/WPA instructors Stan Lawhorne and Jerry Cooper – Writers’ Police Academy
https://leelofland.com/wp-content/uploads/2014/04/New-Picture-16.jpg336448Lee Loflandhttps://leelofland.com/wp-content/uploads/2017/04/the-graveyard-shift-1.pngLee Lofland2021-01-04 07:00:502022-03-16 18:03:50Cops and Command Presence: What’s Up With That Look?
Ah, the mind of a mystery writer. Always contemplating the simpler things in life, like car chases, explosions, and murder.
For me, there’s nothing better than to open a book and instantly feel as if I’ve been transported to another world, and I want the character’s emotions and senses to take me there. I want the black, murky waters of James Lee Burke’s Louisiana swamps to fill my gut with a sense of foreboding. I want to feel and smell the humid southern air after a crab boil, and I want to experience the heartbreak that Dave feels when his wife dies. Those things are important to me as a reader, and they’re even more important to me as a writer. I want readers to see, feel, taste, and hear what I write.
Setting can be an antagonist, such as stories featuring humans (the hero) battling and overcoming the forces of nature (the antagonist)—hurricanes, tornadoes, earthquakes, blizzards, etc.
As a reader, I also pay a lot of attention to the names assigned to fictional characters and locations because they also tell us a little bit about the author. Like the town names Hope and Despair that Lee Child used in his book Nothing To Lose.
The road leading to Hope was fresh, new, and smooth ( as smooth as the author). The road to Despair was in disrepair, filled with potholes and was totally worn out. Using those two simple words (Hope and Despair) was brilliant. Lee typed eleven letters and told us a story about two towns that some couldn’t have achieved in a dozen pages.
Now, speaking of appropriate settings and naming of towns in crime novels, how about the name in the photo above—Kilkenny Marina? How’s that for a great place to set a story? I suppose we’d need a few facts, first. Like, who’s Kenny? And why do the folks at the marina want to kill him? What exactly does one fish for at Killkenny? And what, exactly, would our characters use as bait? Pieces of Kenny would, of course, be a perfect means of destroying the evidence of murder, right?
Setting allows readers to step into the pages of a story and then to exist there alongside the characters as they move through the tale.
A name alone can serve as a great hook. After all, catchy names can also become a familiar link between fans and their favorite stories/books—Metropolis (Superman), Bedrock (The Flintstones), Whoville (The Grinch and Horton Hears a Who), and Emerald City (The Wizard of Oz), to name a few.
Anyway, Denene and I once stumbled across this little jewel of a place—Kilkenny Marina—while exploring the back roads near Savannah, Ga.
Instead of hanging a right onto Belle Island Road in Richmond Hill (south of Savannah) I kept straight and this is the little slice of heaven we found after passing through the narrow opening in a stand of massive live oaks. A perfect setting for a mystery? Perhaps we should find Kenny to ask his opinion of the situation, if he’s still alive.
Great settings activate the reader’s senses by using smells, colors, textures, sounds, and sensations.
Sounds are part of setting, such as waves gently licking and lapping against the hull of a boat. Odors are also bits of setting, like how the scent of salty air mixed with fumes of gasoline and sun-drying oyster shells, bait fish remnants, and seaweed take us to the decks of fishing boats.
By the way, who says you have to die to see the light at the end of the tunnel? As a more practical means of having a peek at “the light,” simply visit Kilkenny Marina a few minutes before sunset and this is what you’ll see on your way out.
Regarding setting, though, our decisions are often based upon what we see. In the case of blinding sunlight, a character may squint, pull down a car’s sun visor, hold up a hand to shield their eyes from the bright light. A person who’s blind may react to the sudden warmth on their face.
So yes, setting can be a character, one who evokes emotion and adds layers and depth to a story. It’s also a place for the story to take place. It’s atmosphere and mood, and the antagonist who creates tension.
More examples of using setting to activate a reader’s senses:
Patricia Cornwell 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.
“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 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.
Close your eyes for a moment and picture yourself walking into a bar, or restaurant. What do you see? Can you transform those images into a few simple words? How do you choose which words to use? Which words will effectively paint the picture and take the reader with you on your visit to the bar?
Here’s a decent rule of thumb – Write the scene and then remove all of those 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? Think maybe it’s time to step away from them?
“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.
*UPDATE – We never found Kenny, so we assumed the deed had been done prior to our arrival. His disappearance remains a mystery …
Good action scenes—car chases, gunfights, and exploding cars and buildings—are great at keeping readers busy turning pages. But, how does your hero survive the barrage of bullets, flames, and KABOOMS?
Are you giving the star of your book a realistic way out of the tough jams you’ve tossed her way? Is what you’ve written a true tactical maneuver or, did you write yourself into a tired old cliche’ corner? You know what I mean—the karate chop to the wrist that forces the bad guy to drop his weapon. How about this doozy … shooting the gun out of the villain’s hand. Yeah, those things. The things that are not only far-fetched, they’re downright silly.
As writers of fiction it is your job and sworn duty to deliver believable make-believe, and having your character(s) shoot the gun out of someone’s hand is far from achieving that goal. So, you ask, how do real-life heroes avoid meeting untimely ends when confronted with deadly situations? Well …
When confronting a long-gun-wielding suspect (shotguns and rifles are long guns) it’s best to have the hero approach from the side. Doing so forces the crook to turn his entire body toward the approaching hero in order to continue the threat/potential shootout. Otherwise, the thug has no option other than to flee or surrender. The tactic also allows time for the hero to react to the threat.
If possible, place your hero in a good light. Make use of bright lights, such as a setting sun or bright early morning sunlight. The light should be at the hero’s back, shining into the eyes of the bad guy, making it difficult for them to see clearly. The hero, though, will have no trouble seeing the crook. However, don’t allow your protagonist to stand in a position where she/he is backlit, making their silhouette a perfect target.
It’s okay to have your hero experience a bit of fear because fear heightens our sense of awareness, which in turn increases the likelihood that we’ll do whatever is necessary to survive. However, fear can have a negative effect if allowed to overtake the situation. In short, a little fear is good, but too much fear combined with gunfire is the recipe for a badge-wearing babbling idiot.
If possible, your heroes should focus on breathing during deadly encounters. Yes, breathing properly during a tense situation can help bring things into perspective. It can also help lower the heart rate, and it can prevent fear from morphing into blind rage (sudden bursts of anger could lead to avoidable disaster—not thinking clearly and perhaps rush into a no-win situation.
Taking a moment to focus on combat breathing—breathe in slowly for a count of four, hold your breath for another count of four, and then exhale to a third four-count. Count to four and then start all over again. The heart rate should be noticeably lower after a few repetitions. Of course, I don’t recommend taking the time to perform these deep-breathing exercises during a gunfight with bullets zinging by your ears. It’s been my personal experience that “timeouts” are not allowed during gun battles.
Don’t Write Your Hero Into the Dreaded Cliche’ Corner!
I can’t recall ever seeing an extremely scared, deep-breathing Jack Reacher standing with bright sunlight to his back while walking sideways like crab toward a guy holding an AK-47.
I suppose an occasional fist to the throat, or a boot to the head is permissible, but only if you’re the hero in a Lee Child book. The trouble is, there’s only one Jack Reacher, and there’s definitely only one Lee Child. Well, now there’s Andrew Child, so …
https://leelofland.com/wp-content/uploads/2018/01/corner-writing.jpg343900Lee Loflandhttps://leelofland.com/wp-content/uploads/2017/04/the-graveyard-shift-1.pngLee Lofland2020-11-13 13:16:592020-11-13 16:41:14Don’t Fear the Reacher: Are You Writing Your Hero Into the Dreaded Cliche’ Corner?
Today, when your keystrokes guide your police officer/detective/protagonist through the perils that go hand-in-hand with saving the world from total devastation, pause for just a moment and consider the lives of real-life officers. Do your characters measure up to a human officer’s abilities? Have you over-written the character? Are they mindless, superheroes? Have you given them human emotions? Is the danger level realistic? Are your action scenes believable?
I read a lot. A whole lot. Book after book after book, including tons of stories written by readers of this blog. Think about what you’ve seen on this site for the past few years—cordite, uniforms, handcuffs, Miranda, Glocks, Sig Sauers, edged weapons, revolvers, defensive tactics, etc. Where do I get my ideas? Well … mostly from the mistakes writers make in their books (smelling cordite, thumbing off safeties when there aren’t any, etc.).
The same is true at the Writers’ Police Academy and our exciting new venture “Writers” Police Academy Online” that’s scheduled to go live in October 2020. We present workshops mostly based on questions we hear from writers. We also develop sessions that stem from the inaccuracies found in various books, TV shows, and film. Several of the activities at the WPA are based upon actual events that occurred during the year , such as the Boston bombings, school shootings, etc.
Not so long ago I was reading a wonderfully written book when a paragraph stopped me dead in my tracks. So I backed up to re-read a few lines to make certain that what I’d read was actually on the page and not my mind playing tricks on my tired eyes. Nope, there it was as plain as day, one of the most impossible, unbelievable ways to kill ever written (I won’t go into detail to protect the author’s reputation). Then, to make matters even worse, the scene was followed by a few more paragraphs containing incorrect information about the weapons and materials involved in the goofy slaying. Not even close to reality, and it was obvious that reality was the intention.
This was a problem for me. I really liked this author’s voice. It was fresh, new, and exciting. However, I doubt that I’ll pick up another of this author’s books. Why not? Because he/she didn’t bother to check simple facts. They didn’t even make an effort to use common sense. I wondered if they’d ever seen a real-life cop.
Writing Reality
One of the top thriller writers of our time, Lee Child, writes some pretty over the top action, but he does so in a way that makes you believe it, even though some of it probably couldn’t happen in real life. I once asked Lee how much research he conducts before writing his books.
His answer was, “Better to ask if I do any research before I write the last word! I don’t do any general research. I depend on things I have already read or seen or internalized, maybe years before. I ask people about specific details … like I asked you what a rural police chief might have in his trunk. But in terms of large themes I think it’s difficult to research too close to the time of writing … research is like an iceberg – 90% of it needs to be discarded, and it’s hard to do that without perspective.”
So how does Lee make Reacher’s actions believable? Simple. He uses common sense. Well, that and more talent in his little finger than I have in my dreams.
By the way, in response to Lee Child when he contacted me to ask what what a rural police chief might have in the trunk of his car, I sent him this photo (below).
I took the shot while visiting a sheriff’s office in Ohio. Yes, you may have read the scene that was based on this very image, along with the description I provided to Lee.
The trunk of a patrol car is for the storage of evidence collection material, a defibrillator (not all departments issue defibrillators), extra ammunition, rain gear, flares, emergency signage, accident and crime scene investigation equipment, extra paperwork, riot gear, etc.
Department regulations may determine the contents of the trunk. And common sense will tell you that there are no bazookas, portable helicopters, rocket launchers, or inflatable speed boats inside the trunk of a police car.
However, you might find a baseball bat and glove, a football, or a few teddy bears. Cops often come in contact with children who need a friend.
So please, if you’re going for realism, use common sense.
Common sense will also tell you to ask an expert before plunging into a topic you know nothing about, such as “what might a rural police chief have in his car trunk?”
Lee Child teamed up with his brother Andrew Child to write the next Reacher novel, “The Sentinel.” Andrew, though, will take the reins from that book forward to continue the Jack Reacher series.
On a personal note, Lee Child has been a great friend to me and my family. We are blessed that he has been a part of our lives.
https://leelofland.com/wp-content/uploads/2015/02/20140808_110954.jpg336448Lee Loflandhttps://leelofland.com/wp-content/uploads/2017/04/the-graveyard-shift-1.pngLee Lofland2020-09-23 08:11:312020-09-23 16:17:41Lee Child, and Using Common Sense When Writing About Cops
Sometimes it’s the tiniest detail that makes a setting pop, zing, and sizzle. They’re the little things that cause readers to sit up and take notice. They evoke emotion and stir memories of real life experiences. They’re the things that make readers leave everything behind to step into the worlds you’ve created. After all, a well-written and well-crafted setting can be a character in its own right, and it’s equally as important as the fictional people who live within the covers of your books.
A great example of a writer who’s mastered the art of setting is superstar author James Lee Burke. Burke, whose settings are incredibly detailed, are written from the heart, and the details he creates shine through in every letter of every word. His scenes and characters are deeply layered and this is so because he often relies on personal life experiences.
Burke often talks about having worked in the Texas oilfields, and as a surveyor. He taught school and was employed once as a social worker. As a reporter he wrote for a newspaper. Like many of us in our early years, and even later in life, money was tight back in the day for Burke and his family. They’d lived in a garage, motels, and a trailer. Thirty years ago Burke was an alcoholic.
It is the combination of Burke’s experiences that offers inspiration for his writings. He’s also adamant that writers should be aware of the people around them.
During a 2015 interview with Publishers Weekly, Burke said, “A good writer is a good listener. The great dialog of the world is all around us, if we’ll only listen. In similar fashion, the great stories are in situations we see everyday, just as the great heroes, the real gladiators, are usually standing next to us in the grocery checkout.”
I’vr often heard writers speaking about adding to their next book a bit of information they heard while at a writers conference. A couple of years, for example, at the Writers’ Poilce Academy, Tod and Lee Goldberg saw a sign featuring a unique business name and both authors immediately claimed “dibs” at using the name in a future book.
Lee Child once asked me about the typical items stored in the trunk of a patrol car. He needed a speck of detail for a Reacher book. J.A. Jance once asked me about driving and skidding on icy roads. The scant bit of information was vital to an opening scene of a book that, as usual with Judy, quickly turned into a bestseller.
Donald and Renee Bain used to contact me often when they needed information for their Murder She Wrote series. Stuart Kaminsky called on both Denene and me for material. Lee Golderg … more of the same—tiny details for a Monk book. James Lee Burke asked me about fingerprints, a very specific but small detail and, like the others who contact various experts, much of the information was needed to “perk-up’ a scene, paragraph, sentence, or dialog. Sometimes all that’s needed is a single word … proper terminology.
So when writing about cops and when you really want to insert something special into your twisted and thrilling tales of mystery, suspense, and/or romance, ask an expert for unique behind the scenes details that will surprise the reader. Show your fans that you’ve done your homework. After all, your goal is to entertain and please the people who spend their hard-earned money to purchase the books you’ve labored over for the past several months, creating something special just for them.
Unique Cop Stuff
To help out, here are a few tiny specks of information you might find intriguing.
A kevlar vest typically doesn’t quite reach the waistband of the wearer, which leaves a gap of a couple of inches between the bottom of the vest and the belt area of the pants. Nothing there but shirt material and flesh. Therefore, when sliding in and out of a police car, the hard and dense material of the vest sometimes catches and pinches a bit of “love handle,” and it feels like you’d imagine. It hurts and causes the officer to wince. Although, if people are around at the time, the officer will suck it up and pretend it didn’t happen. Still, that tiny tear in the corner of the eye is a dead giveaway. OUCH!
While wearing a Kevlar vest, officers typically wear an undershirt of some type. The problem, though, is that the undershirt often “rides up” with all of the climbing in-and-out of patrol cars and scuffling with bad guys that officers do all shift long. So, to avoid the uncomfortable bunching-up of material that you can’t get to without stripping down, some officers tuck the tail of their undershirt into their underwear. The elastic band of the “Fruit of the Looms” holds the t-shirt firmly in place.
Officers sometimes store an extra set of cuffs on the spotlight control arm.While driving along, especially on bumpy and curvy roads, etc., there’s a constant “click” of metal tapping metal as the handcuffs hanging from the spotlight arm sway with the motions of the car. After a while, though, the noise is “tuned out” and simply becomes a part of the cacophony of sounds inside the patrol vehicle—constant police radio chatter, FM radio station, the drunk yelling and singing from the backseat, and even a partner going on and on about his kids or the big fish he caught, or the mangled dead body they’d discovered at a crash scene earlier in the night.
4. Police departments use many symbols of rank designation. Some department supervisors wear white shirts (some departments issue white shirts to all officers), while others issue gold badges to their higher-ranking officers. But the easiest way to tell an officer’s rank is to look at their collar insignia. Each pin is a representation of the officer’s rank.
Collar insignias, beginning with the top ranking officer (chief)
Colonel, or Chief (some chiefs prefer to be addressed as Colonel) – An eagle (birds) on each collar
Sheriffs and chiefs may also wear a series of stars to indicate their rank.
Major – Oak leaf on each collar
Captain – Two bars on each collar (the two bars are often called “railroad tracks,” a great detail to include in a story)
Lieutenant – One bar on each collar
Sergeant hree stripes on the collar and/or the sleeve (photo below)
Sometimes rank is indicated on the badge.
Corporal – Two stripes on the collar and/or the sleeve
Officer – Chevron, or single stripe
Hash marks on the sleeve indicate length of service.
For example, each hash mark normally represents five years on the job. Sometimes, to avoid a sleeve fully-covered in long row of hash marks, stars are often used to represent each five years served. In the case of the officer/police chief above, each star in the circle represents five years of service, plus four hash marks, each of which, in this case, indicate a single year. So, 5 stars and 4 hash marks = a total of 29 years on the job.
Other pins and medals worn by officers may include …
Here’s a closer look at the bling.
(from top to bottom):
– Name tag.
– Award ribbons – Community service award, length of service, expert marksman, lifesaving award, medal of valor.
– Pistol expert (to earn this award the officer must consistently shoot an average of 95% or better on the range).
– FTO pin worn by field training officers.
– K9 pin worn by K9 officers.
– Indicates outstanding service, above and beyond.
*Remember, ribbons and pins and other do-dads will vary by individual departments and agencies.
Pins
Pins on the back of name tags, ribbons, etc. are used to attach the insignias to an officer’s uniform. A small clasp (similar to an ear ring backing) is pressed over the pin tips to hold them in place.
Unfortunately, the clasps often fall off during scuffles with rowdy bad guys and, if the officer is not wearing a bullet-resistant vest, which was typical “back in the day,” could result in the pin tips puncturing the officer’s skin.
For a quick fix in the field, lost clasps can be temporarily replaced with pencil erasers.
Okay, that’s the tip of the detail iceberg. Questions?
“The author must know his countryside, whether real or imaginary, like his hand.” ~ Robert Lewis Stevenson
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Conklin uses what appears to be an older Crossmatch fingerprinting terminal, or one similar, to record and enter Reacher’s prints into the system. Chief Edward Morrison, played by 
It was actor 
While driving along, especially on bumpy and curvy roads, etc., there’s a constant “click” of metal tapping metal as the handcuffs hanging from the spotlight arm sway with the motions of the car. After a while, though, the noise is “tuned out” and simply becomes a part of the cacophony of sounds inside the patrol vehicle—constant police radio chatter, FM radio station, the drunk yelling and singing from the backseat, and even a partner going on and on about his kids or the big fish he caught, or the mangled dead body they’d discovered at a crash scene earlier in the night.
