Laura Lippman is a mystery novelist with a series, and several standalones one of which "What the Dead Know" just broke her for the first time on the NYT Bestsellers list. I met her both years at Writers in Paradise and she so bright you can tell it without her saying a word. She is a former newspaper writer from Baltimore and is married to David Simon creator/producer of the best police show in the history of television, The Wire.
Now, go ahead and check out her blog entry for today. In case the links change, today's entry is titled "Nepotism."
Last weekend our local chapter of the Mystery Writers of America had a Seattle Police Department detective come and speak with us. He was an interesting guest. He'd been a patrolman, worked in on the sexual assault and child abuse crimes squad and now worked as a CSI tech. One thing he mentioned almost in passing caught my attention; The Reid Technique of Interview and Interrogation.
The detective described it as an analysis of indicators guilt or innocence in interrogations. An example he used (which he mentioned was simplistic) involved asking a suspect "Why did you rob that bank?" The innocent suspect would likely say something like "I never robbed any bank." while the guilty one might be more prone to respond "What bank?".
After reading this wikipedia article (http://en.wikipedia.org/wiki/Reid_technique) and much of the Reid Institute site (http://www.reid.com) however it seems to me as if much of the technique is aimed more at making certain that statements in interrogations make strong prosecution evidence than it is at determining guilt or innocence.
The nine steps of the Reid technique are listed below. For contrast and amusement, I have listed the title of each step according to the Reid Technique site followed by the Wikipedia description of that step. Perhaps this will be useful for some of you.
Reid.com: The Positive Confrontation
Wikipedia: Tell the suspect that there is overwhelming evidence, even witnesses, of their guilt. This may be a lie to force the suspect towards confession.
Reid.com: Theme Development
Wikipedia: Try to shift the blame away from the suspect to some other person or set of circumstances that prompted the suspect to commit the crime. That is, develop themes containing reasons that will justify or excuse the crime. Themes may be developed or changed to find one to which the accused is most responsive.
Reid.com: Handling Denials
Wikipedia: Never allow the suspect to deny guilt. Reid training video: "If you’ve let him talk and say the words ‘I didn’t do it’, and the more often a person says ‘I didn’t do it’, the more difficult it is to get a confession." Stopping them talking also stops them asking for a lawyer.
Reid.com: Overcoming Objections
Wikipedia: At this point, the accused will often give a reason why he or she did not or could not commit the crime. Try to use this to move towards the confession.
Reid.com: Procuring and Retaining the Suspect's Attention
Wikipedia: Reinforce sincerity to ensure that the suspect is receptive.
Reid.com: Handling the Suspect's Passive Mood
Wikipedia: The suspect will become quieter and listen. Move the theme discussion towards offering alternatives. If the suspect cries at this point, infer guilt.
Reid.com: Presenting an Alternative Question
Wikipedia: Pose the “alternative question”, giving two choices for what happened; one more socially acceptable than the other. The suspect is expected to choose the easier option but whichever alternative the suspect chooses, guilt is admitted.
Reid.com: Detailing the Offense
Wikipedia: Lead the suspect to repeat the admission of guilt in front of witnesses.
Reid.com: Elements of Oral and Written Statements
Wikipedia: Document the suspect's admission and have them sign as a confession.
Best wishes,
Michael Jacobs
But I am hanging in with my writing schedule. I've missed a couple nights, just been exhausted, but I'm still hitting my "at least fight nights a week" goal.
I neglected to reward myself for a couple periods, but that's OK. Come payday I'm buying myself a new Palm Treo 700p.
I have to find a way to make allowances for time spent editing or plotting, but I haven't figured out how to measure a fair nights work of that yet.
Harry Shearer: The thing about the writers guild, which is different from every other union in Hollywood is that there is a mark of Cain at the birth of the writers guild.
Frank Darabont: OK, you're going to have to explain that.
Shearer: ...which is that the very first thing that the writers guild did on it's formation was give up the copyright.
But read mystery author Laura Lippman's true life story here.
