It's THAT time- to step up your writing and/or illustrating. Time to register for the NJ Society of Children's Book Writers and Illustrators annual conference this June in New Brunswick! Here's the info:
Who's going to be there
What workshops are going on
Who's giving critiques
Where can I register
Ok, I've done the work for you- gathered all the info in nice, tidy links. Click and read, then click and sign up!
Unfortunately, I won't be there this year, my baby is graduating (!!!!) close to that date and then we have a number of family obligations. Sometimes, you just can do it all. So 5 quick tips:
1- Have fun! Don't make it all about work. There is a cocktail hour, there are chances to chat and mingle. Relax!
2- Network. What good is going to the conference with all these fab EDITORS AND AGENTS and you don't chat them up? (don't be pushy or obnoxious or you'll never get published). They are there all weekend and unless they're busy giving a critique or presentation (or in the bathroom), say hello ask them about their fave books, what they're looking for, or share a joke. (It helps to know a bit about them before you chat. Do your homework for the ones you really want to impress!)
3- Be considerate. Don't give out copies of your manuscript. That's what e-queries are for. You'll get that info from Cathy, your Reg. Adv. AFTER the conference.
4- Don't waste the opportunity! Query and submit to all agents and editors that are a GOOD FIT for your writing. If an editor hates sci fi, don't be the jerk that sends them a space story.
5- Make friends. These are the same authors that may be next to you at book signings when you get pubbed, they may have the same agent and/or editor, they may love you and buy your books... So be nice, professional, funny, sweet, irreverent, and chill.
I wish you all good luck!
Char
Showing posts with label NJ SCBWI. Show all posts
Showing posts with label NJ SCBWI. Show all posts
Monday, March 26, 2018
Monday, June 12, 2017
The Story DOES Matter!
At the NJ SCBWI annual conference last weekend, I took a workshop titled, "Writing Marginalized Voices in Children's Books," which was presented by Andrea Loney and Emma Otheguy. It's one thing to believe in writing diverse characters- and another in getting it right.
Recently, a publishing professional told me that if I wasn't the same ethnicity as my characters, "That's a problem," and getting my work published would be very difficult, if not impossible. If I were to follow that dictate, then all I could write are stories with characters that are German and Swedish- and I would then be accused of only writing from the white perspective. It's a Catch 22 with no win for me. I might as well just give up writing because that's NOT what I want: a strictly 'white only' point of view. (To read that post, scroll down).
I shared a dinner table with Emma, who is of Cuban descent, and I met Andrea, a woman of color, at the workshop. They discussed how unrepresented these voices, stories, and people are. And besides being underrepresented, sometimes they are represented incorrectly. There are books out there rife with stereotypes which need to be discarded. Also, she and Emma talked about how polarizing books and writing around ethnicity can be.
Andrea gave us opportunities to talk about these things. I mentioned that in my middle grade book series, Evolution Revolution (Simple Machines, Simple Plans, Simple Lessons), the main characters are animals, and the main secondary character is a boy of color. When I showed the cover of the book, which features Jack the squirrel, to white children, they bought the book. When I showed children of color the picture of the boy who looked like them, they bought the book but white children mostly didn't. Same book, different responses. It's such a conundrum to me on how to present the book. I don't want to use two different approaches to discuss/sell my book depending on the ethnicity of the audience. It's an animal book, a science book, an adventure book. (There are other humans characters of other ethnicities and genders). Should I just give in and make all my characters white like me, even if it doesn't fit the story? (The character is also physically challenged and is homeschooled.)
Andrea's response was for us to write the story. BUT- make sure to do the research. Is my character accurately representing this ethnicity without stereotype? If I feel confident it is technically correct, a 'sensitivity reader' - person of color who can point out any stereotypical flaws in dialogue, appearance, customs, etc. that I may not realize I've employed, will help further ensure that I am presenting a marginalized voice/character will all fairness.
This is what writers across the spectrum need to hear, understand, and embrace. We all hate the stereotypes that we're faced with (I get really tired of 'dumb blonde' jokes, Nazi references, misogynistic remarks). I'm sure that's only an inkling of what marginalized people face.
But I took away that the story matters. I can write marginalized voices and characters, and so can you. If we write precisely, no one should question that even though we don't have the credentials of being born a specific ethnicity, we can still write that story. The only way to bring marginalized voices and people to wide acceptance is to keep writing that story the way it should be written.
I've gotten much more from this workshop from both Andrea and Emma, who related her experiences of her Cuban heritage and the journey of writing her book than I can do justice in this short post. Check out Andrea's picture book, Take a Picture of Me, James VanDerZee! and her other books here. For Emma's book, Marti's Song for Freedom, debuting Spring 2017, check here to pre-order or check for launch date.
Char
Recently, a publishing professional told me that if I wasn't the same ethnicity as my characters, "That's a problem," and getting my work published would be very difficult, if not impossible. If I were to follow that dictate, then all I could write are stories with characters that are German and Swedish- and I would then be accused of only writing from the white perspective. It's a Catch 22 with no win for me. I might as well just give up writing because that's NOT what I want: a strictly 'white only' point of view. (To read that post, scroll down).
I shared a dinner table with Emma, who is of Cuban descent, and I met Andrea, a woman of color, at the workshop. They discussed how unrepresented these voices, stories, and people are. And besides being underrepresented, sometimes they are represented incorrectly. There are books out there rife with stereotypes which need to be discarded. Also, she and Emma talked about how polarizing books and writing around ethnicity can be.
Andrea gave us opportunities to talk about these things. I mentioned that in my middle grade book series, Evolution Revolution (Simple Machines, Simple Plans, Simple Lessons), the main characters are animals, and the main secondary character is a boy of color. When I showed the cover of the book, which features Jack the squirrel, to white children, they bought the book. When I showed children of color the picture of the boy who looked like them, they bought the book but white children mostly didn't. Same book, different responses. It's such a conundrum to me on how to present the book. I don't want to use two different approaches to discuss/sell my book depending on the ethnicity of the audience. It's an animal book, a science book, an adventure book. (There are other humans characters of other ethnicities and genders). Should I just give in and make all my characters white like me, even if it doesn't fit the story? (The character is also physically challenged and is homeschooled.)
Andrea's response was for us to write the story. BUT- make sure to do the research. Is my character accurately representing this ethnicity without stereotype? If I feel confident it is technically correct, a 'sensitivity reader' - person of color who can point out any stereotypical flaws in dialogue, appearance, customs, etc. that I may not realize I've employed, will help further ensure that I am presenting a marginalized voice/character will all fairness.
This is what writers across the spectrum need to hear, understand, and embrace. We all hate the stereotypes that we're faced with (I get really tired of 'dumb blonde' jokes, Nazi references, misogynistic remarks). I'm sure that's only an inkling of what marginalized people face.
But I took away that the story matters. I can write marginalized voices and characters, and so can you. If we write precisely, no one should question that even though we don't have the credentials of being born a specific ethnicity, we can still write that story. The only way to bring marginalized voices and people to wide acceptance is to keep writing that story the way it should be written.
I've gotten much more from this workshop from both Andrea and Emma, who related her experiences of her Cuban heritage and the journey of writing her book than I can do justice in this short post. Check out Andrea's picture book, Take a Picture of Me, James VanDerZee! and her other books here. For Emma's book, Marti's Song for Freedom, debuting Spring 2017, check here to pre-order or check for launch date.
Char
Monday, June 5, 2017
Love Lift Us Up...
I'm not going to get mushy on you, talking about love thy neighbor (though we need it), or love yourself (have you, lately?).
I'm sharing my 'love' of the children's book writing community. I'm an author, so I try to support writers- published and waiting to be. But today, I want to focus on the other half- the illustrators.
You all know I LOVE my illustrator, Cathy Daniels.
You've seen the Evolution Revolution series covers (I hope)- book 1, Simple Machines, book 2, Simple Plans, and book 3, Simple Lessons. Here's a sneak peek at an interior illustration for Simple Lessons:
The picture tells a piece of the story (but read the whole book to see the other great pictures and get the whole story). Many people have been attracted to the book (kids and adults) because of the illustrations. When they're done this well, you know the illustrator put the best effort (and then some) into their work. If you're going Indie, don't be cheap and have your child scribble something. Hire a professional artist. You get what you pay for, and if your book is that important, doesn't it deserve wonderful illustrations? Check out Cathy's other works here.
My next gush is Mike Ciccotello. He's sort of newcomer to the New Society of Children's Book Writers and Illustrators (SCBWI). I 'discovered' him last year, walking through the juried art show at our annual conference. This was his piece:
When I told him how much it 'spoke' to me, he gave me the print! It hangs in my office so I can always remember the joy and spark of imagination of being a child. This year, Mike won the People's Choice Award! Here's the pic:
And it's sitting in my office! I'm having huge fangirl moments here! After his family, I think I'm his biggest groupie! So I have the Mike wall. Check out Mike's work here. (I think he should make his own coffee cups- these are fab, but make sure to stroll around his site and see all his work.) And notice that he'd make a good book illustrator too....
But there is so much love to go around. My friend, Colleen Rowan Kosinski, gave me her signed print! Check it out:
Notice the character in the background to the left... Her picture book, Lila's Sunflowers, debuted a few months ago, and is a wonderful story about- well, I won't ruin the surprise. It's touching and moving (tissue alert for sentimental slobs like me.) Check out her book and her work here. More books are forthcoming, so I don't have to tell you what a talented illustrator she is.
There are soooo many wonderful artists at the conference, and I wish I could showcase them all. My friend, Kathy Temean, is working on displaying as many of the artwork as she can, so check out her blog over the next week or so and see the other outstanding, incredible, I'm-so-damn-jealous-of-their-talent artists. Visit their websites/blogs, praise them for their work. Spread the love. In a frightening world, art soothes the soul, calms the nerves, and lightens the heart.
Now I'm going to doodle some stick figures....
Char
I'm sharing my 'love' of the children's book writing community. I'm an author, so I try to support writers- published and waiting to be. But today, I want to focus on the other half- the illustrators.
You all know I LOVE my illustrator, Cathy Daniels.
You've seen the Evolution Revolution series covers (I hope)- book 1, Simple Machines, book 2, Simple Plans, and book 3, Simple Lessons. Here's a sneak peek at an interior illustration for Simple Lessons:
The picture tells a piece of the story (but read the whole book to see the other great pictures and get the whole story). Many people have been attracted to the book (kids and adults) because of the illustrations. When they're done this well, you know the illustrator put the best effort (and then some) into their work. If you're going Indie, don't be cheap and have your child scribble something. Hire a professional artist. You get what you pay for, and if your book is that important, doesn't it deserve wonderful illustrations? Check out Cathy's other works here.
My next gush is Mike Ciccotello. He's sort of newcomer to the New Society of Children's Book Writers and Illustrators (SCBWI). I 'discovered' him last year, walking through the juried art show at our annual conference. This was his piece:
When I told him how much it 'spoke' to me, he gave me the print! It hangs in my office so I can always remember the joy and spark of imagination of being a child. This year, Mike won the People's Choice Award! Here's the pic:
And it's sitting in my office! I'm having huge fangirl moments here! After his family, I think I'm his biggest groupie! So I have the Mike wall. Check out Mike's work here. (I think he should make his own coffee cups- these are fab, but make sure to stroll around his site and see all his work.) And notice that he'd make a good book illustrator too....
But there is so much love to go around. My friend, Colleen Rowan Kosinski, gave me her signed print! Check it out:
Notice the character in the background to the left... Her picture book, Lila's Sunflowers, debuted a few months ago, and is a wonderful story about- well, I won't ruin the surprise. It's touching and moving (tissue alert for sentimental slobs like me.) Check out her book and her work here. More books are forthcoming, so I don't have to tell you what a talented illustrator she is.
There are soooo many wonderful artists at the conference, and I wish I could showcase them all. My friend, Kathy Temean, is working on displaying as many of the artwork as she can, so check out her blog over the next week or so and see the other outstanding, incredible, I'm-so-damn-jealous-of-their-talent artists. Visit their websites/blogs, praise them for their work. Spread the love. In a frightening world, art soothes the soul, calms the nerves, and lightens the heart.
Now I'm going to doodle some stick figures....
Char
Tuesday, March 28, 2017
On My "To Do" List
I like lists. They help me feel organized and almost like I have control of my day and life. (Ha.) Here is today's list of Thing To Do (which may run for well over a month before I get them done):
1. Write this blog post (guess I can cross it off my list as soon as I post).
2. Upload 15 pages of manuscript for critique at NJ SCBWI annual conference.
3. Pack up books and supplies for the Pennsylvania State Local Authors book festival (at Hershey, PA. Details on my 'What's Up?' page).
4. Pack up books and supplies for the Barnes and Noble Educator's event at Marlton. (yep, details on my events page).
5. Follow up with agents who requested a partial or full manuscript. Keep fingers crossed.
6. Draft presentation for NJ SCBWI conference (cyber security and hacking).
7. Drop off NJ SCBWI paperwork on Critique Day in Princeton to our Reg. Adv, Cathy.
8. Get in a swim.
9. Start revisions on MG ms requested by another agent.
10. Continue work on YA thriller.
I've already gone through emails (I have to monitor 3 accounts- family, my old yahoo one, and my author one on gmail), Facebook and Twitter updates, and checked in with my publicist. And, I fed the cats. Twice.
The writer's life- it's not all glorious writing.
I'll let you know how much I got done by next week...
Char
1. Write this blog post (guess I can cross it off my list as soon as I post).
2. Upload 15 pages of manuscript for critique at NJ SCBWI annual conference.
3. Pack up books and supplies for the Pennsylvania State Local Authors book festival (at Hershey, PA. Details on my 'What's Up?' page).
4. Pack up books and supplies for the Barnes and Noble Educator's event at Marlton. (yep, details on my events page).
5. Follow up with agents who requested a partial or full manuscript. Keep fingers crossed.
6. Draft presentation for NJ SCBWI conference (cyber security and hacking).
7. Drop off NJ SCBWI paperwork on Critique Day in Princeton to our Reg. Adv, Cathy.
8. Get in a swim.
9. Start revisions on MG ms requested by another agent.
10. Continue work on YA thriller.
I've already gone through emails (I have to monitor 3 accounts- family, my old yahoo one, and my author one on gmail), Facebook and Twitter updates, and checked in with my publicist. And, I fed the cats. Twice.
The writer's life- it's not all glorious writing.
I'll let you know how much I got done by next week...
Char
Monday, November 7, 2016
Coming to you live...
I did a radio interview about Evolution Revolution: Simple Machines on last Thursday, Nov. 3 for WEOL out of Elyria, Ohio, for the Morning Show hosted by Craig Adams and Bruce Van Dryke. I've done radio interviews before but it's still a little disconcerting hearing yourself on radio or tv if you're not in the business. Listen and let's compare notes:
Listen
These are my thoughts:
1. Do I really sound like that? The voice I hear is so much lower. This could explain why my kids screech when I sing. Or they could just be pesky kids. Wonder if they know how their voice sounds.
2. I wish I hadn't said "um" as often. No excuses, I've had public speaking classes, I've done numerous presentations and talks for NJ SCBWI and at author events. (But it was 8:10 in the morning and maybe I should have gone to bed at 6 pm instead of 11:30 pm. I'm on a I-don't-have-to-get-up-with-the-kids-schedule anymore).
3. I couldn't eat or drink a cup of tea before the interview. I have digestive issues so I have to take medication and wait a full hour before putting anything in my stomach. Yes! I could have gotten up earlier and taken care of this. Totally my fault. Or I could blame it on the medication for making me wait so darn long.
4. It went so quick! I had tons of funny anecdotes and life experiences I wanted to share. I had to prioritize and a) answer the question from the host, b) keep it short and pithy, and c) try to get in pertinent information like where to get the book and my website address. For a person who likes to chat, this was an exercise in restraint!
5. Even though I've done this before, my hands were still a bit shaky right before I called in. Nerves? Possibly. You can't really prepare for these events. Hunger? A little bit. Like my brain, it takes a while for my stomach to wake up and I think it was rumbling awakd during the interview. Caffeine withdrawal? Another possibility. Didn't get that cup of tea until afterwards. Well, after the interview, a load of laundry, making my bed and doing the dishes. You can fit a lot of stuff into an hour when you're waiting to eat.
So what did you think? Throw away being an author to be a radio host? (I didn't think so either.) But here's some tips I'll leave with you:
1. Make sure you're rested and fed (not stuffed) before the interview. Don't eat anything that will make you burp (like soda), cough (like dry chips), or sniffle (like hot sauce).
2. Make a list of the things that have to get into the interview: website/blog address, where to buy the book, the age range of the book, a 2-3 sentence long synopsis (without spoilers!). Interview hosts may have this covered, but if they don't, you have to get it in. Most of this advice came to me from my publicist, Rebecca Grose of SoCal Public Relations.
3. Don't try for something you're not. If you're not British, don't do a faux accent to push the book. I'm generally funny, but my first answer didn't come off so well: Q: how many books are planned in the series? A: If I got a huge contract, I'd publish more... Nope. Didn't work. Guess I'm funnier in person where I can make goofy faces. Keep it conversational.
4. Don't be one of those people who hog all the air time. One of the things I think I did well with was waiting until the host finished speaking, I tried not to interrupt or ramble. Some people (and most of you know who you are....) just go on and on. When you do that in conversation or on author panels, I shut down. Check my nail polish. Practice signing my name for the movie deal. It's probably why I don't listen to audio books- the same speaker never stops.
5. Be prompt, courteous, pleasant-voiced, and above all, remember that interviewers are doing YOU a favor, so no attitude and say thank you!
I'll be here, writing while waiting for that call for my books to be adapted to the silver screen...
Char
Listen
These are my thoughts:
2. I wish I hadn't said "um" as often. No excuses, I've had public speaking classes, I've done numerous presentations and talks for NJ SCBWI and at author events. (But it was 8:10 in the morning and maybe I should have gone to bed at 6 pm instead of 11:30 pm. I'm on a I-don't-have-to-get-up-with-the-kids-schedule anymore).
3. I couldn't eat or drink a cup of tea before the interview. I have digestive issues so I have to take medication and wait a full hour before putting anything in my stomach. Yes! I could have gotten up earlier and taken care of this. Totally my fault. Or I could blame it on the medication for making me wait so darn long.
4. It went so quick! I had tons of funny anecdotes and life experiences I wanted to share. I had to prioritize and a) answer the question from the host, b) keep it short and pithy, and c) try to get in pertinent information like where to get the book and my website address. For a person who likes to chat, this was an exercise in restraint!
5. Even though I've done this before, my hands were still a bit shaky right before I called in. Nerves? Possibly. You can't really prepare for these events. Hunger? A little bit. Like my brain, it takes a while for my stomach to wake up and I think it was rumbling awakd during the interview. Caffeine withdrawal? Another possibility. Didn't get that cup of tea until afterwards. Well, after the interview, a load of laundry, making my bed and doing the dishes. You can fit a lot of stuff into an hour when you're waiting to eat.
So what did you think? Throw away being an author to be a radio host? (I didn't think so either.) But here's some tips I'll leave with you:
1. Make sure you're rested and fed (not stuffed) before the interview. Don't eat anything that will make you burp (like soda), cough (like dry chips), or sniffle (like hot sauce).
2. Make a list of the things that have to get into the interview: website/blog address, where to buy the book, the age range of the book, a 2-3 sentence long synopsis (without spoilers!). Interview hosts may have this covered, but if they don't, you have to get it in. Most of this advice came to me from my publicist, Rebecca Grose of SoCal Public Relations.
3. Don't try for something you're not. If you're not British, don't do a faux accent to push the book. I'm generally funny, but my first answer didn't come off so well: Q: how many books are planned in the series? A: If I got a huge contract, I'd publish more... Nope. Didn't work. Guess I'm funnier in person where I can make goofy faces. Keep it conversational.
4. Don't be one of those people who hog all the air time. One of the things I think I did well with was waiting until the host finished speaking, I tried not to interrupt or ramble. Some people (and most of you know who you are....) just go on and on. When you do that in conversation or on author panels, I shut down. Check my nail polish. Practice signing my name for the movie deal. It's probably why I don't listen to audio books- the same speaker never stops.
5. Be prompt, courteous, pleasant-voiced, and above all, remember that interviewers are doing YOU a favor, so no attitude and say thank you!
I'll be here, writing while waiting for that call for my books to be adapted to the silver screen...
Char
Tuesday, July 5, 2016
Step Into the REAL World...
TV shows and movies (and novels) tend to dramatize crimes. My co-presenter at the NJ SCBWI annual conference, Guy Olivieri, who is a forensic detective with the Woodbridge, NJ police, laughs a little and shakes his head when discussing how things work in the real world. At our workshop, Scene of the Crime: How Experts Handle A Crime Scene, I talked about writing a factually correct crime scene and he presented the steps and information about how detectives and investigators examine a crime scene and collect evidence. This final part in my series on that presentation is based on Guy's observations and expertise: 6 Mistakes to Avoid at a Crime Scene. In Guy's words:
"Crime scenes are so fragile that just about anything you do can cause crime scene contamination. The moment that the first uniformed officer enters the scene, it is contaminated. Investigators must be ready for that question on the stand, "Was the crime scene contaminated before you arrived?" The answer to this question is always and unequivocal "yes it was counselor," followed with an explanation if allowed. Crime scene contamination is unavoidable in law enforcement's quest to render aid to the victim or obtain evidence. However, law enforcement can mitigate contamination by avoiding these six (6) deadly crime scene mistakes:
1. Not controlling police personnel.
The biggest problem in any crime scene are your fellow officers and therefore the most important appointment is to choose a "gatekeeper." The gatekeeper's job is to maintain the integrity of the scene, keep a list of who entered the scene (a crime scene log) and to prevent unauthorized personnel from gaining access. Some officers inadvertently contaminate the crime scene when they are assigned "the job," while others like to show up to gawk. These officers pose the most difficult challenge at the crime scene for the "gatekeeper."
2.Not identifying evidence.
When processing a crime scene you have to have an open mind. If you are only looking for certain items, that is all you will find. Don't miss the forest for the trees. If you think it has the potential to be probative evidence, then take it with you. There is nothing worse than finding out hours later that you left an important piece of evidence behind.
3. Not documenting interviews/evidence, etc.
If the investigator doesn't take the time to document parts of the case then the entire case could be jeopardized. If the reports aren't filled out, then that information will be lost forever. Worst yet, a poorly documented case opens it up to rightful criticism by the defense counsel. They will point out that certain things weren't documented because they were exculpatory- meaning they would eliminate his/her client as a possible suspect. If it wasn't recorded, it never occurred.
4. Not taking enough photographs.
The old mantra of a crime scene techs that I used to work with was, "Film is free." The case investigator is the one that will be explaining themselves in a courtroom, so they need to learn how to take charge. You can never have enough photographs. More is better, for sure. Photographs play an important role as demonstrative evidence in a courtroom, a memory aid for investigators, a reference for cold case detectives and the opportunity to identify something that was originally missed.
5. Not identifying secondary or tertiary crime scenes.
The primary crime scene is always where the initial incident talk place, unless it was a homicide, then it is where the body was found. Once again, the investigator cannot operate with blinders on. For instance, if the location is a "dump site" (murdered elsewhere and left the body in another location) then you would have to think that a vehicle was probably used, therefore another potential crime scene. Other areas to think about are points of entry and egress, alleys, rooftops, elevator landings, staircases, etc. An investigator should always think of potential secondary and tertiary crime scenes in every case.
6. Taking crime scene photos with people standing in the background.
Nothing screams crime scene contamination or mismanagement more than rolls of film with both uniformed officers and investigators standing in the midst of the scene- some for no apparent reason. Crime scene photos should be taken when the scene is as pristine as possible. The proper way a crime scene should be documented is: photo, sketch, search and collect.
By no means is this an all inclusive list of what could go wrong at a crime scene, however, these are the six (6) most likely scenarios. In addition, I have one more tip to share and it has to do with EMTs. Always ask the EMTs to clean their belongings up before leaving the scene. If not, you run the risk of having blue gloves, plastic wrappings, bandage wrappings, etc. flying around your crime scene. Also, if possible, ask them not to cut through the bullet/knife holes in the victim's shirt when they are removing his/her clothes.
References: Joseph L. Giacalone, ret. NYPD Det. Sgt. http://joegiacalone.net/cold-case-squad/
The Manual of Detection, by Jedediah Berry.
Guy Olivieri, Det., Woodbridge PD
We hope this helps when writing about crime scenes. There is no need to make things up to create drama; following the rules of reality makes for more tension because it's more difficult than whipping stuff out of your imagination. (Remember when I opened this 4 part series with "Truth is stranger than fiction"?) Plus, you run the risk of an expert (like Guy!) who know what you're writing is false and they may just call you on it. Nothing irks a savvy reader more than an author who doesn't present a well-written, true-to-life (not including fantasies/scifi) book. Make it believable, make it true!
Give them nothing but the facts-
Char
"Crime scenes are so fragile that just about anything you do can cause crime scene contamination. The moment that the first uniformed officer enters the scene, it is contaminated. Investigators must be ready for that question on the stand, "Was the crime scene contaminated before you arrived?" The answer to this question is always and unequivocal "yes it was counselor," followed with an explanation if allowed. Crime scene contamination is unavoidable in law enforcement's quest to render aid to the victim or obtain evidence. However, law enforcement can mitigate contamination by avoiding these six (6) deadly crime scene mistakes:
1. Not controlling police personnel.
The biggest problem in any crime scene are your fellow officers and therefore the most important appointment is to choose a "gatekeeper." The gatekeeper's job is to maintain the integrity of the scene, keep a list of who entered the scene (a crime scene log) and to prevent unauthorized personnel from gaining access. Some officers inadvertently contaminate the crime scene when they are assigned "the job," while others like to show up to gawk. These officers pose the most difficult challenge at the crime scene for the "gatekeeper."
2.Not identifying evidence.
When processing a crime scene you have to have an open mind. If you are only looking for certain items, that is all you will find. Don't miss the forest for the trees. If you think it has the potential to be probative evidence, then take it with you. There is nothing worse than finding out hours later that you left an important piece of evidence behind.
3. Not documenting interviews/evidence, etc.
If the investigator doesn't take the time to document parts of the case then the entire case could be jeopardized. If the reports aren't filled out, then that information will be lost forever. Worst yet, a poorly documented case opens it up to rightful criticism by the defense counsel. They will point out that certain things weren't documented because they were exculpatory- meaning they would eliminate his/her client as a possible suspect. If it wasn't recorded, it never occurred.
4. Not taking enough photographs.
The old mantra of a crime scene techs that I used to work with was, "Film is free." The case investigator is the one that will be explaining themselves in a courtroom, so they need to learn how to take charge. You can never have enough photographs. More is better, for sure. Photographs play an important role as demonstrative evidence in a courtroom, a memory aid for investigators, a reference for cold case detectives and the opportunity to identify something that was originally missed.
5. Not identifying secondary or tertiary crime scenes.
The primary crime scene is always where the initial incident talk place, unless it was a homicide, then it is where the body was found. Once again, the investigator cannot operate with blinders on. For instance, if the location is a "dump site" (murdered elsewhere and left the body in another location) then you would have to think that a vehicle was probably used, therefore another potential crime scene. Other areas to think about are points of entry and egress, alleys, rooftops, elevator landings, staircases, etc. An investigator should always think of potential secondary and tertiary crime scenes in every case.
6. Taking crime scene photos with people standing in the background.
Nothing screams crime scene contamination or mismanagement more than rolls of film with both uniformed officers and investigators standing in the midst of the scene- some for no apparent reason. Crime scene photos should be taken when the scene is as pristine as possible. The proper way a crime scene should be documented is: photo, sketch, search and collect.
By no means is this an all inclusive list of what could go wrong at a crime scene, however, these are the six (6) most likely scenarios. In addition, I have one more tip to share and it has to do with EMTs. Always ask the EMTs to clean their belongings up before leaving the scene. If not, you run the risk of having blue gloves, plastic wrappings, bandage wrappings, etc. flying around your crime scene. Also, if possible, ask them not to cut through the bullet/knife holes in the victim's shirt when they are removing his/her clothes.
References: Joseph L. Giacalone, ret. NYPD Det. Sgt. http://joegiacalone.net/cold-case-squad/
The Manual of Detection, by Jedediah Berry.
Guy Olivieri, Det., Woodbridge PD
We hope this helps when writing about crime scenes. There is no need to make things up to create drama; following the rules of reality makes for more tension because it's more difficult than whipping stuff out of your imagination. (Remember when I opened this 4 part series with "Truth is stranger than fiction"?) Plus, you run the risk of an expert (like Guy!) who know what you're writing is false and they may just call you on it. Nothing irks a savvy reader more than an author who doesn't present a well-written, true-to-life (not including fantasies/scifi) book. Make it believable, make it true!
Give them nothing but the facts-
Char
Step Into the REAL World...
TV shows and movies (and novels) tend to dramatize crimes. My co-presenter at the NJ SCBWI annual conference, Guy Olivieri, who is a forensic detective with the Woodbridge, NJ police, laughs a little and shakes his head when discussing how things work in the real world. At our workshop, Scene of the Crime: How Experts Handle A Crime Scene, I talked about writing a factually correct crime scene and he presented the steps and information about how detectives and investigators examine a crime scene and collect evidence. This final part in my series on that presentation is based on Guy's observations and expertise: 6 Mistakes to Avoid at a Crime Scene. In Guy's words:
"Crime scenes are so fragile that just about anything you do can cause crime scene contamination. The moment that the first uniformed officer enters the scene, it is contaminated. Investigators must be ready for that question on the stand, "Was the crime scene contaminated before you arrived?" The answer to this question is always and unequivocal "yes it was counselor," followed with an explanation if allowed. Crime scene contamination is unavoidable in law enforcement's quest to render aid to the victim or obtain evidence. However, law enforcement can mitigate contamination by avoiding these six (6) deadly crime scene mistakes:
1. Not controlling police personnel.
The biggest problem in any crime scene are your fellow officers and therefore the most important appointment is to choose a "gatekeeper." The gatekeeper's job is to maintain the integrity of the scene, keep a list of who entered the scene (a crime scene log) and to prevent unauthorized personnel from gaining access. Some officers inadvertently contaminate the crime scene when they are assigned "the job," while others like to show up to gawk. These officers pose the most difficult challenge at the crime scene for the "gatekeeper."
2.Not identifying evidence.
When processing a crime scene you have to have an open mind. If you are only looking for certain items, that is all you will find. Don't miss the forest for the trees. If you think it has the potential to be probative evidence, then take it with you. There is nothing worse than finding out hours later that you left an important piece of evidence behind.
3. Not documenting interviews/evidence, etc.
If the investigator doesn't take the time to document parts of the case then the entire case could be jeopardized. If the reports aren't filled out, then that information will be lost forever. Worst yet, a poorly documented case opens it up to rightful criticism by the defense counsel. They will point out that certain things weren't documented because they were exculpatory- meaning they would eliminate his/her client as a possible suspect. If it wasn't recorded, it never occurred.
4. Not taking enough photographs.
The old mantra of a crime scene techs that I used to work with was, "Film is free." The case investigator is the one that will be explaining themselves in a courtroom, so they need to learn how to take charge. You can never have enough photographs. More is better, for sure. Photographs play an important role as demonstrative evidence in a courtroom, a memory aid for investigators, a reference for cold case detectives and the opportunity to identify something that was originally missed.
5. Not identifying secondary or tertiary crime scenes.
The primary crime scene is always where the initial incident talk place, unless it was a homicide, then it is where the body was found. Once again, the investigator cannot operate with blinders on. For instance, if the location is a "dump site" (murdered elsewhere and left the body in another location) then you would have to think that a vehicle was probably used, therefore another potential crime scene. Other areas to think about are points of entry and egress, alleys, rooftops, elevator landings, staircases, etc. An investigator should always think of potential secondary and tertiary crime scenes in every case.
6. Taking crime scene photos with people standing in the background.
Nothing screams crime scene contamination or mismanagement more than rolls of film with both uniformed officers and investigators standing in the midst of the scene- some for no apparent reason. Crime scene photos should be taken when the scene is as pristine as possible. The proper way a crime scene should be documented is: photo, sketch, search and collect.
By no means is this an all inclusive list of what could go wrong at a crime scene, however, these are the six (6) most likely scenarios. In addition, I have one more tip to share and it has to do with EMTs. Always ask the EMTs to clean their belongings up before leaving the scene. If not, you run the risk of having blue gloves, plastic wrappings, bandage wrappings, etc. flying around your crime scene. Also, if possible, ask them not to cut through the bullet/knife holes in the victim's shirt when they are removing his/her clothes.
References: Joseph L. Giacalone, ret. NYPD Det. Sgt. http://joegiacalone.net/cold-case-squad/
The Manual of Detection, by Jedediah Berry.
Guy Olivieri, Det., Woodbridge PD
We hope this helps when writing about crime scenes. There is no need to make things up to create drama; following the rules of reality makes for more tension because it's more difficult than whipping stuff out of your imagination. (Remember when I opened this 4 part series with "Truth is stranger than fiction"?) Plus, you run the risk of an expert (like Guy!) who know what you're writing is false and they may just call you on it. Nothing irks a savvy reader more than an author who doesn't present a well-written, true-to-life (not including fantasies/scifi) book. Make it believable, make it true!
Give them nothing but the facts-
Char
"Crime scenes are so fragile that just about anything you do can cause crime scene contamination. The moment that the first uniformed officer enters the scene, it is contaminated. Investigators must be ready for that question on the stand, "Was the crime scene contaminated before you arrived?" The answer to this question is always and unequivocal "yes it was counselor," followed with an explanation if allowed. Crime scene contamination is unavoidable in law enforcement's quest to render aid to the victim or obtain evidence. However, law enforcement can mitigate contamination by avoiding these six (6) deadly crime scene mistakes:
1. Not controlling police personnel.
The biggest problem in any crime scene are your fellow officers and therefore the most important appointment is to choose a "gatekeeper." The gatekeeper's job is to maintain the integrity of the scene, keep a list of who entered the scene (a crime scene log) and to prevent unauthorized personnel from gaining access. Some officers inadvertently contaminate the crime scene when they are assigned "the job," while others like to show up to gawk. These officers pose the most difficult challenge at the crime scene for the "gatekeeper."
2.Not identifying evidence.
When processing a crime scene you have to have an open mind. If you are only looking for certain items, that is all you will find. Don't miss the forest for the trees. If you think it has the potential to be probative evidence, then take it with you. There is nothing worse than finding out hours later that you left an important piece of evidence behind.
3. Not documenting interviews/evidence, etc.
If the investigator doesn't take the time to document parts of the case then the entire case could be jeopardized. If the reports aren't filled out, then that information will be lost forever. Worst yet, a poorly documented case opens it up to rightful criticism by the defense counsel. They will point out that certain things weren't documented because they were exculpatory- meaning they would eliminate his/her client as a possible suspect. If it wasn't recorded, it never occurred.
4. Not taking enough photographs.
The old mantra of a crime scene techs that I used to work with was, "Film is free." The case investigator is the one that will be explaining themselves in a courtroom, so they need to learn how to take charge. You can never have enough photographs. More is better, for sure. Photographs play an important role as demonstrative evidence in a courtroom, a memory aid for investigators, a reference for cold case detectives and the opportunity to identify something that was originally missed.
5. Not identifying secondary or tertiary crime scenes.
The primary crime scene is always where the initial incident talk place, unless it was a homicide, then it is where the body was found. Once again, the investigator cannot operate with blinders on. For instance, if the location is a "dump site" (murdered elsewhere and left the body in another location) then you would have to think that a vehicle was probably used, therefore another potential crime scene. Other areas to think about are points of entry and egress, alleys, rooftops, elevator landings, staircases, etc. An investigator should always think of potential secondary and tertiary crime scenes in every case.
6. Taking crime scene photos with people standing in the background.
Nothing screams crime scene contamination or mismanagement more than rolls of film with both uniformed officers and investigators standing in the midst of the scene- some for no apparent reason. Crime scene photos should be taken when the scene is as pristine as possible. The proper way a crime scene should be documented is: photo, sketch, search and collect.
By no means is this an all inclusive list of what could go wrong at a crime scene, however, these are the six (6) most likely scenarios. In addition, I have one more tip to share and it has to do with EMTs. Always ask the EMTs to clean their belongings up before leaving the scene. If not, you run the risk of having blue gloves, plastic wrappings, bandage wrappings, etc. flying around your crime scene. Also, if possible, ask them not to cut through the bullet/knife holes in the victim's shirt when they are removing his/her clothes.
References: Joseph L. Giacalone, ret. NYPD Det. Sgt. http://joegiacalone.net/cold-case-squad/
The Manual of Detection, by Jedediah Berry.
Guy Olivieri, Det., Woodbridge PD
We hope this helps when writing about crime scenes. There is no need to make things up to create drama; following the rules of reality makes for more tension because it's more difficult than whipping stuff out of your imagination. (Remember when I opened this 4 part series with "Truth is stranger than fiction"?) Plus, you run the risk of an expert (like Guy!) who know what you're writing is false and they may just call you on it. Nothing irks a savvy reader more than an author who doesn't present a well-written, true-to-life (not including fantasies/scifi) book. Make it believable, make it true!
Give them nothing but the facts-
Char
Step Into the REAL World...
TV shows and movies (and novels) tend to dramatize crimes. My co-presenter at the NJ SCBWI annual conference, Guy Olivieri, who is a forensic detective with the Woodbridge, NJ police, laughs a little and shakes his head when discussing how things work in the real world. At our workshop, Scene of the Crime: How Experts Handle A Crime Scene, I talked about writing a factually correct crime scene and he presented the steps and information about how detectives and investigators examine a crime scene and collect evidence. This final part in my series on that presentation is based on Guy's observations and expertise: 6 Mistakes to Avoid at a Crime Scene. In Guy's words:
"Crime scenes are so fragile that just about anything you do can cause crime scene contamination. The moment that the first uniformed officer enters the scene, it is contaminated. Investigators must be ready for that question on the stand, "Was the crime scene contaminated before you arrived?" The answer to this question is always and unequivocal "yes it was counselor," followed with an explanation if allowed. Crime scene contamination is unavoidable in law enforcement's quest to render aid to the victim or obtain evidence. However, law enforcement can mitigate contamination by avoiding these six (6) deadly crime scene mistakes:
1. Not controlling police personnel.
The biggest problem in any crime scene are your fellow officers and therefore the most important appointment is to choose a "gatekeeper." The gatekeeper's job is to maintain the integrity of the scene, keep a list of who entered the scene (a crime scene log) and to prevent unauthorized personnel from gaining access. Some officers inadvertently contaminate the crime scene when they are assigned "the job," while others like to show up to gawk. These officers pose the most difficult challenge at the crime scene for the "gatekeeper."
2.Not identifying evidence.
When processing a crime scene you have to have an open mind. If you are only looking for certain items, that is all you will find. Don't miss the forest for the trees. If you think it has the potential to be probative evidence, then take it with you. There is nothing worse than finding out hours later that you left an important piece of evidence behind.
3. Not documenting interviews/evidence, etc.
If the investigator doesn't take the time to document parts of the case then the entire case could be jeopardized. If the reports aren't filled out, then that information will be lost forever. Worst yet, a poorly documented case opens it up to rightful criticism by the defense counsel. They will point out that certain things weren't documented because they were exculpatory- meaning they would eliminate his/her client as a possible suspect. If it wasn't recorded, it never occurred.
4. Not taking enough photographs.
The old mantra of a crime scene techs that I used to work with was, "Film is free." The case investigator is the one that will be explaining themselves in a courtroom, so they need to learn how to take charge. You can never have enough photographs. More is better, for sure. Photographs play an important role as demonstrative evidence in a courtroom, a memory aid for investigators, a reference for cold case detectives and the opportunity to identify something that was originally missed.
5. Not identifying secondary or tertiary crime scenes.
The primary crime scene is always where the initial incident talk place, unless it was a homicide, then it is where the body was found. Once again, the investigator cannot operate with blinders on. For instance, if the location is a "dump site" (murdered elsewhere and left the body in another location) then you would have to think that a vehicle was probably used, therefore another potential crime scene. Other areas to think about are points of entry and egress, alleys, rooftops, elevator landings, staircases, etc. An investigator should always think of potential secondary and tertiary crime scenes in every case.
6. Taking crime scene photos with people standing in the background.
Nothing screams crime scene contamination or mismanagement more than rolls of film with both uniformed officers and investigators standing in the midst of the scene- some for no apparent reason. Crime scene photos should be taken when the scene is as pristine as possible. The proper way a crime scene should be documented is: photo, sketch, search and collect.
By no means is this an all inclusive list of what could go wrong at a crime scene, however, these are the six (6) most likely scenarios. In addition, I have one more tip to share and it has to do with EMTs. Always ask the EMTs to clean their belongings up before leaving the scene. If not, you run the risk of having blue gloves, plastic wrappings, bandage wrappings, etc. flying around your crime scene. Also, if possible, ask them not to cut through the bullet/knife holes in the victim's shirt when they are removing his/her clothes.
References: Joseph L. Giacalone, ret. NYPD Det. Sgt. http://joegiacalone.net/cold-case-squad/
The Manual of Detection, by Jedediah Berry.
Guy Olivieri, Det., Woodbridge PD
We hope this helps when writing about crime scenes. There is no need to make things up to create drama; following the rules of reality makes for more tension because it's more difficult than whipping stuff out of your imagination. (Remember when I opened this 4 part series with "Truth is stranger than fiction"?) Plus, you run the risk of an expert (like Guy!) who know what you're writing is false and they may just call you on it. Nothing irks a savvy reader more than an author who doesn't present a well-written, true-to-life (not including fantasies/scifi) book. Make it believable, make it true!
Give them nothing but the facts-
Char
"Crime scenes are so fragile that just about anything you do can cause crime scene contamination. The moment that the first uniformed officer enters the scene, it is contaminated. Investigators must be ready for that question on the stand, "Was the crime scene contaminated before you arrived?" The answer to this question is always and unequivocal "yes it was counselor," followed with an explanation if allowed. Crime scene contamination is unavoidable in law enforcement's quest to render aid to the victim or obtain evidence. However, law enforcement can mitigate contamination by avoiding these six (6) deadly crime scene mistakes:
1. Not controlling police personnel.
The biggest problem in any crime scene are your fellow officers and therefore the most important appointment is to choose a "gatekeeper." The gatekeeper's job is to maintain the integrity of the scene, keep a list of who entered the scene (a crime scene log) and to prevent unauthorized personnel from gaining access. Some officers inadvertently contaminate the crime scene when they are assigned "the job," while others like to show up to gawk. These officers pose the most difficult challenge at the crime scene for the "gatekeeper."
2.Not identifying evidence.
When processing a crime scene you have to have an open mind. If you are only looking for certain items, that is all you will find. Don't miss the forest for the trees. If you think it has the potential to be probative evidence, then take it with you. There is nothing worse than finding out hours later that you left an important piece of evidence behind.
3. Not documenting interviews/evidence, etc.
If the investigator doesn't take the time to document parts of the case then the entire case could be jeopardized. If the reports aren't filled out, then that information will be lost forever. Worst yet, a poorly documented case opens it up to rightful criticism by the defense counsel. They will point out that certain things weren't documented because they were exculpatory- meaning they would eliminate his/her client as a possible suspect. If it wasn't recorded, it never occurred.
4. Not taking enough photographs.
The old mantra of a crime scene techs that I used to work with was, "Film is free." The case investigator is the one that will be explaining themselves in a courtroom, so they need to learn how to take charge. You can never have enough photographs. More is better, for sure. Photographs play an important role as demonstrative evidence in a courtroom, a memory aid for investigators, a reference for cold case detectives and the opportunity to identify something that was originally missed.
5. Not identifying secondary or tertiary crime scenes.
The primary crime scene is always where the initial incident talk place, unless it was a homicide, then it is where the body was found. Once again, the investigator cannot operate with blinders on. For instance, if the location is a "dump site" (murdered elsewhere and left the body in another location) then you would have to think that a vehicle was probably used, therefore another potential crime scene. Other areas to think about are points of entry and egress, alleys, rooftops, elevator landings, staircases, etc. An investigator should always think of potential secondary and tertiary crime scenes in every case.
6. Taking crime scene photos with people standing in the background.
Nothing screams crime scene contamination or mismanagement more than rolls of film with both uniformed officers and investigators standing in the midst of the scene- some for no apparent reason. Crime scene photos should be taken when the scene is as pristine as possible. The proper way a crime scene should be documented is: photo, sketch, search and collect.
By no means is this an all inclusive list of what could go wrong at a crime scene, however, these are the six (6) most likely scenarios. In addition, I have one more tip to share and it has to do with EMTs. Always ask the EMTs to clean their belongings up before leaving the scene. If not, you run the risk of having blue gloves, plastic wrappings, bandage wrappings, etc. flying around your crime scene. Also, if possible, ask them not to cut through the bullet/knife holes in the victim's shirt when they are removing his/her clothes.
References: Joseph L. Giacalone, ret. NYPD Det. Sgt. http://joegiacalone.net/cold-case-squad/
The Manual of Detection, by Jedediah Berry.
Guy Olivieri, Det., Woodbridge PD
We hope this helps when writing about crime scenes. There is no need to make things up to create drama; following the rules of reality makes for more tension because it's more difficult than whipping stuff out of your imagination. (Remember when I opened this 4 part series with "Truth is stranger than fiction"?) Plus, you run the risk of an expert (like Guy!) who know what you're writing is false and they may just call you on it. Nothing irks a savvy reader more than an author who doesn't present a well-written, true-to-life (not including fantasies/scifi) book. Make it believable, make it true!
Give them nothing but the facts-
Char
Monday, June 20, 2016
This is not Hollywood...
Most times when you watch a TV show or movie that includes a crime scene or investigations, Hollywood takes a little...license. What you see generally isn't what happens in reality. But adding drama doesn't have to come at the expense of being factual. And, sometimes writing factually makes for more suspense (it's never that easy or quick to solve a crime); 'Truth is stranger than fiction' being the rule.
I'm referencing the handouts and class presentation used by my co-presenter at the NJ SCBWI for our workshop Scene of the Crime: How Experts Handle a Crime Scene and How Authors can make it Real. Besides his extensive experience as a forensic crime scene detective, he used the following resources:
1- The Manual of Detection by Jedediah Berry
2- http://coldcasesquad.blogspot.com, by Joseph L. Giacalone, ret. NYPD Det.
I'll give you a brief rundown of the basics of forensic crime scene procedures and common mistakes that writers make.
2. Initiate preliminary survey. Check the scene, look for visual clues.
3. Evaluate physical evidence possibilities. Does it look like more than two people (victim and perpetrator) were involved. If gunshot, was there more than one? Is there a murder weapon?
4. Prioritize collection of evidence. Safety first: are there weapons that need to be secured? Is there evidence that could get contaminated?
Guy poses the following questions that crime scene detectives ask:
a- Did the homicide, assault, etc. occur in this location? What happened here; was there a fight, signs of a struggle? When did it happen and what types of evidence should there be?
b- Has the body been moved by either family members, first responders like EMTs, someone else?
c- Has any object been moved by others?
d-Was a gun/rifle used? What type of weapon (automatic, revolver, etc.) More than one shot in victim, possibly lodged in walls, etc.?
e- Are there shell casings?
f- Is there blood spatter?
g- Is there blood in other rooms?
h- Are there visible footprints or fingerprints in the blood?
i- Is all evidence visible in photos taken at scene and properly numbered and logged?
5. Prepare a narrative of the scene. CSIs take notes and start to tell the story, based on evidence, of what they think happened. Because of the length of time it may take to go to trial (months to years), these notes must be precise. Just the facts, ma'am, and no guesses. (Guy notes that in NJ, a detective's notes must be submitted as evidence.)
6. Capture the scene photographically. Include long shot, close-ups, and medium range shots with measurement scales (rulers) and numbers.
7. Prepare the crime scene sketch at the crime scene. This rough sketch is used to document measurements and placement of evidence. A more detailed sketch will be prepared later.
8. Conduct a detailed search. Broaden the area beyond where the body lies.
9. Record and collect physical evidence. Evidence must be secured, uncontaminated and properly documented and packaged from the time it is picked up until locked in evidence storage. This is called "chain of evidence." Anything with blood or other fluids cannot be placed in a plastic bag because that hastens decomposition (hence all the brown bags you may see on documentary investigative shows or the news.) The proper packaging must be used depending on the type of evidence.
10. Conduct a final survey. Make sure all the evidence is collected by walking through.
11. Release the crime scene. No one, not even family, should be granted access to the scene until the detectives are finished with their investigation.
Being aware of the following procedures should illuminate why such shows as Murder, She Wrote (Guy used this example) is just pure fabrication. Realistically, no outsider is allowed to tramp through the crime scene or get near evidence. Stay behind that yellow tape!
Because Guy presented so much information, this will be a 3-part series. Next week, some of the terms and science behind crime scene investigation.
Till then, stay out of trouble!
Char
I'm referencing the handouts and class presentation used by my co-presenter at the NJ SCBWI for our workshop Scene of the Crime: How Experts Handle a Crime Scene and How Authors can make it Real. Besides his extensive experience as a forensic crime scene detective, he used the following resources:
1- The Manual of Detection by Jedediah Berry
2- http://coldcasesquad.blogspot.com, by Joseph L. Giacalone, ret. NYPD Det.
I'll give you a brief rundown of the basics of forensic crime scene procedures and common mistakes that writers make.
Processing the Scene
1. Secure and protect the scene. This means except for the crime scene investigator and emergency medical people, no one should go walking through the crime scene, not even other police officers.2. Initiate preliminary survey. Check the scene, look for visual clues.
3. Evaluate physical evidence possibilities. Does it look like more than two people (victim and perpetrator) were involved. If gunshot, was there more than one? Is there a murder weapon?
4. Prioritize collection of evidence. Safety first: are there weapons that need to be secured? Is there evidence that could get contaminated?
Guy poses the following questions that crime scene detectives ask:
a- Did the homicide, assault, etc. occur in this location? What happened here; was there a fight, signs of a struggle? When did it happen and what types of evidence should there be?
b- Has the body been moved by either family members, first responders like EMTs, someone else?
c- Has any object been moved by others?
d-Was a gun/rifle used? What type of weapon (automatic, revolver, etc.) More than one shot in victim, possibly lodged in walls, etc.?
e- Are there shell casings?
f- Is there blood spatter?
g- Is there blood in other rooms?
h- Are there visible footprints or fingerprints in the blood?
i- Is all evidence visible in photos taken at scene and properly numbered and logged?
5. Prepare a narrative of the scene. CSIs take notes and start to tell the story, based on evidence, of what they think happened. Because of the length of time it may take to go to trial (months to years), these notes must be precise. Just the facts, ma'am, and no guesses. (Guy notes that in NJ, a detective's notes must be submitted as evidence.)
6. Capture the scene photographically. Include long shot, close-ups, and medium range shots with measurement scales (rulers) and numbers.
7. Prepare the crime scene sketch at the crime scene. This rough sketch is used to document measurements and placement of evidence. A more detailed sketch will be prepared later.
8. Conduct a detailed search. Broaden the area beyond where the body lies.
9. Record and collect physical evidence. Evidence must be secured, uncontaminated and properly documented and packaged from the time it is picked up until locked in evidence storage. This is called "chain of evidence." Anything with blood or other fluids cannot be placed in a plastic bag because that hastens decomposition (hence all the brown bags you may see on documentary investigative shows or the news.) The proper packaging must be used depending on the type of evidence.
10. Conduct a final survey. Make sure all the evidence is collected by walking through.
11. Release the crime scene. No one, not even family, should be granted access to the scene until the detectives are finished with their investigation.
Being aware of the following procedures should illuminate why such shows as Murder, She Wrote (Guy used this example) is just pure fabrication. Realistically, no outsider is allowed to tramp through the crime scene or get near evidence. Stay behind that yellow tape!
Till then, stay out of trouble!
Char
Monday, June 6, 2016
The NJ Society of Children's Book Writers and Illustrators Conference Wrap Up
Yes, I skipped last week. It was Memorial Day Weekend and I had a conference to prepare for, relatives to celebrate the coming of a new baby with, and work around the house that demanded to get done. A writer can't always live at the keyboard.
But the conference was great! If you EVER aspire to be a children's book author/illustrator, you NEED to attend this conference at least once. (After that, you'll be hooked. I just have to get you in the door once...)
So many wonderful things happened- making new connections, friends, giving/attending workshops, facilitating events for attendees/editors/agents, socializing, signing books, cheering on the successes of members, and simply getting back to the joy of our community.
It wasn't all sunshine and butterflies- a few glitches, a few heartbreaks, but we powered through them. Here's a gander at the fab people you meet at an SCBWI event (people came from so many different states and other countries; we MUST be doing something right!):
But the conference was great! If you EVER aspire to be a children's book author/illustrator, you NEED to attend this conference at least once. (After that, you'll be hooked. I just have to get you in the door once...)
So many wonderful things happened- making new connections, friends, giving/attending workshops, facilitating events for attendees/editors/agents, socializing, signing books, cheering on the successes of members, and simply getting back to the joy of our community.
It wasn't all sunshine and butterflies- a few glitches, a few heartbreaks, but we powered through them. Here's a gander at the fab people you meet at an SCBWI event (people came from so many different states and other countries; we MUST be doing something right!):
Unfortunately, my cat Mink was VERY disappointed he couldn't go; he even packed his mousie in my suitcase. Sorry Mink, this conference is for writers, illustrators, editors, and agents only!
This is our fabulous regional advisor, Cathy Thole-Daniels (doesn't she look familiar? Yes, she's also the illustrator for my Indie project, Evolution Revolution: Simple Machines). She and the rest of the committee of which I am very proud to be a part of, pulled off a wonderful conference yet again. We're getting a reputation for being one of the best conferences in the US. (That's why YOU need to be here if you want to get serious about your writing/illustrating).
This is my gal pal, Marlo Berliner, who debuted her The Ghost Chronicles novel. She'll also be in a number of Barnes and Noble Teen Author events. Look her up!
The irrepressible Tracey Baptiste! Her fiction books are The Jumbies and Angel's Grace. She's always good for a big happy smile! Events with Tracey are just plain FUN.
Fellow committee member, tech wizard, and good person is Laurie Wallmark who not only sold another picture book on Grace Hopper (computer pioneer), but is the recipient of the SCBWI Crystal Kite Award. Couldn't go to a nicer, more deserving person! Yay Laurie!
So much I owe to Kidlit Authors Club founder, great person, and talented writer Nancy Viau. Among her books are Storm Song, City Beat Street, and forthcoming Just One Thing! She truly 'gives back' to the children's writing community through Kidlit Authors Club and helping newbies like I used to be get started on the grind that is marketing.
My Writing Wenches and gal pal Yvonne Ventresca, awaiting the debut of her second novel, Black Flowers, White Lies (and did you know she put me in the dedication of her first book, Pandemic?).
(Don't you hate selfies?) But I loooove Darlene Beck-Jacobsen! We were table mates at the NJ SCBWI Book Signing. She's waiting to hear about siblings to keep her novel Wheels of Change company on the bookshelf... *fingers crossed!
This is the fabulous, awesome, amazing, gracious, sweet, I-want-to-keep-her Suzi Ismail, who was the closing keynote speaker. Her presentation on Writing Across Cultures OPENED my eyes. I just can't love her anymore than I do!
Finally, a big hug, kiss, and shout of thanks to Mike Ciccotello! He entered the above piece in a juried art contest. I told him that I saw the piece and it just 'spoke' to me. So he gave it to me! It will hang in my office and be the perfect inspiration piece when I write MG fiction (since I'm writing from a boy's perspective) and it will remind me of the joy of my own sons' childhood. Check out Mike's stunning works (especially his coffee cup doodles!) here and fall in love.
Although it's a frantic weekend and exhausting, waiting a year to do it all again seems so very long. I hope to see these fine people again sooner. In the meantime, if you want to polish your skills, get an agent, get published, get involved in the world of publishing for children, this is the place to start. So mark it on your calendar to start checking in February about date announcements. The conference sells out fast, so don't wait! In the meantime, attend author/illustrator events; we love to talk about writing/illustrating and are happy to help the newcomer.
Now I seriously need another cup of chai because I couldn't get any at the conference and I have a ton of work to do.
Enjoy the day, the possibilities, and all that's good-
Char
Although it's a frantic weekend and exhausting, waiting a year to do it all again seems so very long. I hope to see these fine people again sooner. In the meantime, if you want to polish your skills, get an agent, get published, get involved in the world of publishing for children, this is the place to start. So mark it on your calendar to start checking in February about date announcements. The conference sells out fast, so don't wait! In the meantime, attend author/illustrator events; we love to talk about writing/illustrating and are happy to help the newcomer.
Now I seriously need another cup of chai because I couldn't get any at the conference and I have a ton of work to do.
Enjoy the day, the possibilities, and all that's good-
Char
Monday, November 9, 2015
Don't Wait For Me!
Yes, I missed a post last Monday. Parents moved and needed help unpacking, getting settled. Had two presentations to give (one for NaNoWriMo, one for NJ Soc of Children's Book Writers and Illustrators). Held hostage by electricians coming and going fixing stuff. (You just sit down to work and they need to ask you a question...)
Did you hold off on writing because you waited for my post to inspire and motivate you?
Don't Wait For Me!
Don't wait for anyone. Or anything. Grab your writing time when you can. Yes, I could have made better use of my time on several occasions. And I'm sure you could have also. There are no acceptable excuses for not working to fulfill YOUR dream of writing that novel.
All is not lost; we're not even to the halfway point in days. (You should be around 20,000 words). If you aren't, you have time to make it up. Use it wisely. Be a miser when it comes to your time; anything that demands your attention must be worthy: family, friends, job, emergencies and WRITING.
I leave you now to finish this blog post, write another, do some more of my NaNoRevMo, and other writing chores.
Stay strong! Stay focused! Stay positive! Stay determined! Stay in the running!
Stay good to yourself.
Char
Did you hold off on writing because you waited for my post to inspire and motivate you?
Don't Wait For Me!
Don't wait for anyone. Or anything. Grab your writing time when you can. Yes, I could have made better use of my time on several occasions. And I'm sure you could have also. There are no acceptable excuses for not working to fulfill YOUR dream of writing that novel.
All is not lost; we're not even to the halfway point in days. (You should be around 20,000 words). If you aren't, you have time to make it up. Use it wisely. Be a miser when it comes to your time; anything that demands your attention must be worthy: family, friends, job, emergencies and WRITING.
I leave you now to finish this blog post, write another, do some more of my NaNoRevMo, and other writing chores.
Stay strong! Stay focused! Stay positive! Stay determined! Stay in the running!
Stay good to yourself.
Char
Tuesday, June 16, 2015
Ok, You Went To A Writing Conference...
You attended the annual conference of the Society of
Children’s Book Writers and Illustrators (let’s say the New Jersey chapter
which happened this past weekend). You’ve gotten a critique by an editor or
agent, did a fast pitch to another agent, attended numerous workshops and
panels. You chatted with published authors during lunch, dinner, or the social
mixer, bought some autographed books, maybe had a peer review. You’re brimming
with excitement and exhaustion.
What’s next?
You may think you should just jump right in and get to those
revisions, even if there are contradictory ones. Quick, get it done before you
lose the energy!
Maybe.
Some people are so energized and can quickly sort out all
the information and suggestions they’ve gotten and get right to work. I was
like that.
I’ve found a better way.
Wait it out.
Maybe two days, maybe a week, maybe until I figured out the
exact changes to be made. I’ve learned to sift through everything I’ve taken
in, absorb only the bits I need or want.
Just because someone tells you to change something doesn’t
mean you should. Does it fit your story? (Would it still be great if the Alice
in Alice in Wonderland was an Alex?
If Dracula was gay? If your story is no longer recognizable?) There is a fine
line between a good suggestion (change tense, make main character more
likeable, ratchet up the tension between the ex girlfriend/boyfriend) and advice that
doesn’t work for you (can you imagine how different The Fault in Our Stars would be if the girl lived?) These things
have to be considered before you leap into the lake of revisions.
I find that allowing at least a day to mull over all the
suggestions helps a bit. Go through your notes and theirs- cross out whatever
is a total no-go (making your horror story a love story). Make a separate list
of those things that are under consideration (changing the point of view from
third to first person, from past tense to present, from multiple narrators to
one or two, etc.) Then, make a list of the things that absolutely have to be
done, like correcting grammar mistakes, adding sensory details, changing
‘telling’ into ‘showing.’ Take another day to work out how you’re going to make
the necessary changes; will you have to eliminate a character or multiple scenes?
Will you have to add more setting detail? Do you need more research?
Go through your ‘maybe’ list again, this time crossing out
whatever you know now you’re not going to do, and putting the rest on the ‘must
do’ list. Now you’re ready to tackle those revisions. It’s possible that you’re
faster than most people in sorting and planning and changing. If you listened
to the editors and the agents you talked with, they’ll probably all have told
you not to rush; take your time, consider the advice. After all, they’ll wait
for a good manuscript, and they’ll rush to reject a bad one.
Now that I’ve weeded all my gardens while I worked out a
plot problem, I’m going to carefully and slowly make those revisions. My agent
said she’d wait…
Good luck and good writing!
Char
Tuesday, June 2, 2015
Don't Touch the Cool Stuff
Every 'job' has it's 'cool stuff.' Rocket scientists have rockets. Designers have cool computer programs to make hypothetical products. Football players have pink shoes made just for them.
Well, writers have cool stuff too.
This is a gift I bought myself:
It's a writing book shaped like a typewriter. (If you don't know what this is, I don't think we can be friends...) The pages inside look like the cover, only in very light ink, so you're not distracted, but encouraged to keep going. I can almost imagine the click of the keys and the bell at the end...
This was a gift from my Blonde OPS and Sirenz series co-author, Natalie Zaman. (I had a black one from my cousin for my first book signing, but a 'fan' stole it while I was at the Boston Teen Book Fest. If you took the pen, please return it, no questions asked, and I'll send you a free book....)
It's a Swarovski pen, all pink and glittery. I'm one of those sentimental slobs who likes to have little mementos of special occasions, so I use a special pen. (Which is why I really miss the black pen because it's from MY FIRST BOOK SIGNING EVER.)
This is probably the first, no second, writing gift I ever got (the first being a typewriter with stiff keys so that it was easier to write a book by hand). My mom got me this:
Although it doesn't really work to clip papers, and it's pretty heavy (see how big it is next to the average size hard cover?) it's cute and fun, and I'm that sentimental slob, remember?
This was made by a sweet fan (I know I've showcased this before, thanks Melissa and her mom!) but it's just so awesome.
A photographic collage for Sirenz. I almost cried when I opened it. A gift from the heart. Sniff.
Writers get great gifts from other writers and organizations. This came to me from the New Jersey Society of Children's Book Writers and Illustrators as a thank you for helping out during the annual conference.
It's a Lucky Duck (which can be used to relieve stress by squishing it. At the moment, if I squish him, it may tear him to pieces; ah the not-so-tranquil life of a writer.) And he floats in the tub, so it's fun too.
So, back to editing and the two most useful things for a writer: the delete button and the keyboard...
Char
Well, writers have cool stuff too.
This is a gift I bought myself:
It's a writing book shaped like a typewriter. (If you don't know what this is, I don't think we can be friends...) The pages inside look like the cover, only in very light ink, so you're not distracted, but encouraged to keep going. I can almost imagine the click of the keys and the bell at the end...
This was a gift from my Blonde OPS and Sirenz series co-author, Natalie Zaman. (I had a black one from my cousin for my first book signing, but a 'fan' stole it while I was at the Boston Teen Book Fest. If you took the pen, please return it, no questions asked, and I'll send you a free book....)
It's a Swarovski pen, all pink and glittery. I'm one of those sentimental slobs who likes to have little mementos of special occasions, so I use a special pen. (Which is why I really miss the black pen because it's from MY FIRST BOOK SIGNING EVER.)
This is probably the first, no second, writing gift I ever got (the first being a typewriter with stiff keys so that it was easier to write a book by hand). My mom got me this:
Although it doesn't really work to clip papers, and it's pretty heavy (see how big it is next to the average size hard cover?) it's cute and fun, and I'm that sentimental slob, remember?
This was made by a sweet fan (I know I've showcased this before, thanks Melissa and her mom!) but it's just so awesome.
A photographic collage for Sirenz. I almost cried when I opened it. A gift from the heart. Sniff.
Writers get great gifts from other writers and organizations. This came to me from the New Jersey Society of Children's Book Writers and Illustrators as a thank you for helping out during the annual conference.
It's a Lucky Duck (which can be used to relieve stress by squishing it. At the moment, if I squish him, it may tear him to pieces; ah the not-so-tranquil life of a writer.) And he floats in the tub, so it's fun too.
So, back to editing and the two most useful things for a writer: the delete button and the keyboard...
Char
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