Tag Archives: Dialogue

WOULD YOU BE A GOOD POLICE INTERROGATOR?

Interrogation. Just the word elicits your vision of forcible confinement in a hot and windowless room, shoved in a wooden chair with one leg shorter than others, a bright light from a bare bulb burning over your head, and hulking forms of trench-coated detectives firing hardboiled questions in your face. The truth is different. A lot different. There’s a high skill involved in getting useful information from people, and not everyone is cut out for the job. Are you? Would you be a good police interrogator?

To start, drop the “interrogation” word. It’s not correct to say “interrogation” in today’s professional police procedures. The right terms are “interview” and “dialogue exchange”. And, they’re more applicable because the vast majority of police-civilian interactions are respectful interchanges of relevant information.

I’ve spent a good part of my life talking to people and getting information. I learned long ago that you get more bees with honey than you do with vinegar. I also learned you slide a lot further on bullshit than you do on gravel. I made those principles the core of my information-gathering days. I also practiced another fundamental rule. That’s that the best interrogators interviewers are the best listeners.

Where’s this going? I subscribe to Psychology Today. I recently read a piece by Mary Ellen O’Toole, Ph.D. in her regular column Criminal Minds where she set out ten questions with graded responses to her Are You A Good Listener Test. Dr. Mary Ellen O’Toole was a senior profiler at the FBI’s Behavioral Analysis Unit and author of Dangerous Instincts: How Gut Feelings Betray Us. Here’s her short ten-question exam to see if you would be a good police interrogator. Sorry… police interviewer.

ARE YOU A GOOD LISTENER TEST

1. Typically, how emotional (frightened, insecure, angry, etc.) do I get when I am attempting to interview someone? (Rate this on a scale of 1-3)

1 = very emotional
2 = nonemotional and detached
3 = I remain interested and tempered

2. Typically, how often do I interrupt?

1 = several times during a conversation
2 = just once or twice during a conversation
3 = almost never

3. Do I say things like “What? You have got to be kidding me,” – or- “That reminds me of the time I…” – or – “You think that’s bad, let me tell you about…”

1 = frequently
2 = sometimes
3 = rarely

4. Do I roll my eyes, put my head down, shake my head back and forth, throw myself back in my chair, turn away, get up and walk away, show signs of anger or threatening behavior, or otherwise display that I am not paying attention or do not like what the other person is saying?

1 = frequently
2 = sometimes
3 = rarely

5. Do I fidget until people stop talking and then immediately respond without considering what they’ve said?

1= frequently
2 = sometimes
3 = rarely

6. Do I let my mind wander to all the other things on my “to do” list and keep thinking that I just don’t have the time for this?

1 = frequently
2 = sometimes
3 = rarely

7. Do I wait until the nanosecond when the speaker goes to take a breath to pounce on him or her with my opinions?

1 = frequently
2 = sometimes
3 = rarely

8. Do I hijack the conversation? For instance by saying something like, “Look we’ve been over this a million times. Your ideas are just not going to work. This is what we are going to do.”

1 = frequently
2 = sometimes
3 = rarely

9. I reflect the person’s thoughts and feelings back to the person I am listening to.

1 = rarely
2 = sometimes
3 = frequently

10. I ask open-ended questions to encourage the other person to talk.

1 = rarely
2 = sometimes
3 = frequently

Total Score = ______

The higher the score – the better your listening skills tend to be and the better interrogator interviewer you would be. Note: This is not a scientific test and has not been validated or otherwise vetted. These opinions are those of Dr. O’Toole and do not represent the views of the FBI.

My experience is that the key to successful information gathering is simply listening to what’s being said. Does it make sense? Does it fit? Does it make you ask more questions? Or does what’s being said to you satisfy what you’re after?

Let me know in the comments how you made out on the test!

HOW TO WRITE DEADLY CRIME FICTION

grodgers-write-deadly-fiction-cover-online-use-3debook-sml[1]Crime fiction is the second largest-selling book genre, slightly behind romance. It’s a craft an author must have passion for, as well as having the writing skills and subject knowledge to make their story believable—and hold their reader’s interest. Passion has to pre-exist in the writer but, thankfully, the techniques can be learned. I’m betting that 808 Killer Tips on How to Write Deadly Crime Fiction will help.

The No BS series of crime fiction guides is a project I’m passionately working on. It started as a self-teaching venture when I began fiction writing. I quickly found that, although I might be an adequate technical writer, I knew little about the tricks of the fiction trade.

grodgers-website-banner-crime

grodgers-write-deadly-cover-online-use-3dbook-sml[1]I researched and developed a list of pointers—mostly notes to self—on some of the most important tips. Thinking it would be helpful to others, I published it as a pdf under the title Dead Write with 99 tips and offered it as sign-up bait for my blogsite. It’s now matured as Guide One with a more professional look as 101Killer Tips on Writing Deadly Crime Thrillers. It’s still available free on this site.

The series goes beyond diction and syntax. It gives writers a unique look into the real side of crime writing based on my actual experience and a hell of a lot of research—never mind help from a gem of a source.

AA2My friend and fellow crime writer, Sue Coletta, generously offered to critique and edit the guides. Sue is an accomplished author on her own with a new crime thriller Marred hitting the shelves on November 11, 2015. Sue recently renovated her website and it’s an excellent source of information for crime writers and fans. Visit Sue at www.suecoletta.com and get her own free tips: 60 Ways To Murder Your Fictional Characters.

grodgers-deadly-selfedit-cover-online-use-sml[1]Guide Two is How to Self-Edit Deadly Crime Thrillers. Researching this has taken my writing knowledge to a whole new level and I hope it does the same to others. What’s opened my eyes is how the process of editing actually works. The takeaway—it’s as vital to learn editing skills as it is to develop writing skills. Editing is revision. Re-Vision.

Writing Deadly Crime Scenes is the third guide. It deals with what really goes on behind the ‘Scenes’. People. Places. Processing. It gives you tips on how crime scene investigators recognize evidence and how you can accurately portray the scenes in your books. The guide has sections on legal requirements, responsibilities of investigative roles, and how personalities intertwine on the CSI ‘food chain’.

grodgers-write-deadly-dialogue-cover-online-use-3debook-sml[1]Deadly Dialogue goes beyond the do’s and don’ts of fiction dialogue. It gives a look at how cops and crooks think, hence how they talk. There’s tips on formatting dialogue so your novel will read like a crime book and not like some soap-opera script. There’s also a glossary of crime terms to get it just right.

Guide Five is on Characters. Let’s set this straight. Plot is all about characters doing something to forward the story and their own development. It makes you think about development of your characters on three levels. One dimensional that have no names. Two dimensional with an occasional appearance as supporting cast. And the three dimensional stars of the show that your reader needs to love or hate.

grodgers-write-deadly-forensics-cover-online-use-3dbook-sml[1]With Guide Six, the series takes a scientific turn and looks at the world of Forensics which no crime story can ignore. You’ll get tips on fingerprinting and footwear impressions. A tour through the lab. Recognize bloodstains and semen stains. Microanalysis. Fires. Explosions.Trace evidence and toolmarks. Entomology, serology, and odontology. It covers psychiatric profiling and you’ll take a ride on the polygraph. (Tough to compress this into 101 single tips.)

You’ll get a bang out of Guide Seven. It’s all about Firearms where you’ll get tips on ballistics, lands, grooves, and striations. It covers types and terminology as well as ammunition and actions. You’ll learn about yield thresholds and fragmentation, the difference between GSW and GSR, and how to snipe off a suspect. You’ll never again call a cartridge a bullet, or a primer a casing, and you’ll know where to turn to for help.

grodgers-write-deadly-autopsies-cover-ebook-interior-1024px[1]Guide Eight takes on Autopsies and the role of forensic pathology. You’ll bag some bodies and slice some Y-incisions; cross-section organs with the tools of the trade and meet with who’s who in the morgue. Experience the stages of mortis (changes in death) and understand why things smell the way they do. How to Write Deadly Accurate Autopsies helps you write convincing causes of death and backs it up with scientific support from the lab.

All eight guides will be condensed into one resource titled How to Write Deadly Crime Fiction — A No BS Guide with 808 Killer Tips. The individual guides will be available online as eBooks with an internal link to printing it as a pdf. The big guy, 808, will be in both digital and print-on-demand.

Guides Two through Eight will be out in the fall of 2015, date TBA. In the meantime, help yourself to Guide One: How to Write Deadly Crime Thrillers — A No BS Guide With 101Killer Tips. I’d appreciate your feedback, so please comment with your thoughts and suggestions.

grodgers-website-banner-crime

How to Write Deadly Crime Thrillers — A No BS Guide With 101 Killer Tips.

PS – If you’re already a subscriber to DyingWords and want the new guide, email me at garry.rodgers@shaw.ca and I’ll send you the pdf direct.

5 KILLER TIPS FOR WRITING DEADLY CRIME FICTION

Are you overwhelmed with crime writing tips?

Killer Ficton 2Frustrated by ‘expert’ penmonkeys that don’t know squat about crime-writing? Sick of literary snitches that sell you false clues? Stuck for real leads on what makes for good blood & guts scoops?

Well, it’s up to you to solve your style, but I’ve got some solid evidence on what makes or breaks a crime-fiction story. Here’s five good tips.

1. Understand what story is.

question-markStories are about something that happens. Pure & simple. Oh, there’s all kinds of BS out there about character-driven or plot-driven, literary or commercial, and first-person vs. omniscient crap. That’s good for writing seminars, but for the reader… it’s all about what’s happening. It’s not show vs. tell. Readers don’t care about that and they don’t recognize a good alliteration from a bad head-hop.

They care about what happens next. It’s not perfect prose they’re looking for. It’s the overall story question – What’s going to happen?

Keep your reader questioning and you’ll keep them reading to the end. And it’ll make them buy your next book. And the one after that.

So forget most of that ‘expert’ garbage and, like Stephen King says, just tell the goddam story. And, if you really want to lean something about story-telling, go read Lisa Cron’s book Wired For Story. YYou’ll never think about stories the same way again.

2. Open with a bang or a body.

Think James Bond. Or Agatha Christie. James Patterson. Or Garry Rodgers. AK-47s. Or dismembered hookers. Biological bombs. Or a corpse hanging from a meat-hook. A sharp hook… which is the oldest storytelling device and still the best.

You’ve got about ten seconds to hook your reader and keep their face in the page. So start off fast and slowly add backstory. Build it up, then end with a bang. Maybe another body, too.

3. Big, struggling characters.

TerminatorEvery great story is about the human struggle. Good & evil. Right & wrong. Order & chaos. Those sorts of things. Protagonists and antagonists who are larger than life; who are not perfect, but are trapped in the story arch – outwitting others to survive. Great characters that have to lie, cheat, doublecross, and undermine to overcome. Great characters with great dialogue… the second greatest storytelling device. So sharpen your dialogue, as well as your hook.

4. Red Herrings.

Nothing in page turners can be as it seems.

Is the good guy bad? Is the bad guy good? Are the gays straight and the straights queer? How come the prime suspect’s DNA doesn’t match. Why does everyone drive a black truck? Who the Christ is Archibald Wiggers? How come he knows why the informants had to be murdered yet the reader doesn’t till the end?

But in ‘The End’ everything has to make perfect sense. Looking back, it has to be entirely expected and the only way the story could have unfolded.

5. Accurate details.

SluethJust the facts, Ma’am. Nothing will blow your credibility quicker than screwing up things like calling a 9mm a revolver, or saying the cadaver was prone on its back. So much information is available today. A quick Wikipedia or Google search will prevent a set-down- never-to-finish read or horrible, horrible trashings on your Amazon reviews. Time lines are critical and reversing your sequence of events is inexcusable.

Do your research. Do your homework. And be careful out there.

Writing crime fiction really is basic. It’s all about reader experience.