Author Archives: Garry Rodgers

About Garry Rodgers

After three decades as a Royal Canadian Mounted Police homicide detective and British Columbia coroner, International Best Selling author and blogger Garry Rodgers has an expertise in death and the craft of writing on it. Now retired, he wants to provoke your thoughts about death and help authors give life to their words.

THE MISSING BULLET IN THE JFK ASSASSINATION

JFKThere are only three significant questions left unanswered in the assassination of United States President John F. Kennedy which occurred in Dallas, Texas, on November 22nd, 1963.

First is Lee Harvey Oswald’s motive.

Why’d he do it? We’ll never know for sure because Oswald never confessed and he died two days later, taking that secret to his grave.

Second – where was Oswald going after the assassination?

LHO photoHe left the scene, went home, grabbed his revolver, and was walking south on a Dallas street when intercepted by Officer JD Tippit. Oswald shot Tippit and continued fleeing before getting cornered in a theatre where he attempted to shoot the arresting officers. Clearly he was planning to live another day.

The third question – what happened to the missing bullet?

This can now be reasonably explained, although it’s taken a half century to figure it out.

LHO Rifle -Lt DayEvidence clearly shows that Lee Harvey Oswald fired three shots from his 6.5 mm Mannlicher-Carcano rifle which was recovered from the sixth floor of the Texas School Book Depository. Conspiracy theorists – give it a rest. Oswald was the trigger man and he acted alone. Not one single piece of evidence exists to refute this because non-events leave no evidence. It never happened any other way than Oswald acting alone.

The problem with the three shot evidence is that only two bullets were recovered. One has never been accounted for.

So what happened to it?

Let’s look at the firearms evidence in the JFK homicide case.

First of all, you have to weigh the ear-witness reports. The vast majority of witnesses stated that three gunshots were heard. Some claimed that one, two, and as many as nine shots were heard, but you’re going to get that variation with the hundreds of people that were present in Dealey Plaza when Kennedy was shot.

JFK Snipers nest 6You’ve got to give credibility to the witnesses who were closest to the muzzle. There were three Texas School Book Depository workers directly below the sixth floor, southeast window (sniper’s nest) where Oswald fired from. They were unshakable and unanimous that three shots rang out.

Their testimony is corroborated (backed-up) by the fact that three expended shell casings were found in the snipers nest. These three casings were forensically matched as being fired from Oswald’s Carcano ‘to the exclusion of all other firearms’ as the categorical term goes.

JFK Cartridges 510What’s clearly telling is the location in which these casings were found and photographed. In all my reading and research, I can’t find any official comment on the meaning of the casing pattern, although it’s obvious when you simply think about it. Two casings are grouped together, and the third is by itself about five feet from where Oswald pulled his trigger.

JFK 3 Cartridges Clear photoTo further understand the significance, you have to know that Oswald piled a small fortress of book boxes around the sniper’s nest to conceal himself, creating a cardboard wall. When he ejected the casings from his bolt action rifle, they flew through the air at a 90 degree angle from the barrel and struck the wall of boxes to Oswald’s right, then ricocheted to rest on the floor.

Hmmm… two were together and one was off by itself. It’s obvious that Oswald’s barrel position changed between the lone cartridge and the group of two.

So how does this explain the missing bullet?

Let’s look at the two shots that were accounted for.

CE399The first bullet that hit Kennedy, known in assassination terminology as The Single Bullet Theory, got him through the back of the shoulder/ base of the neck, exited his throat, then entered Texas Governor John Connally’s back. In a rapidly diminishing velocity, it traversed Connally’s chest, blew out below his right nipple, continued on to smash his wrist, and lodge in Connally’s thigh. It remained intact, as full metal jacket bullets are designed to do when they penetrate soft mediums like cloth and flesh, and was recovered on Connally’s stretcher at Parkland Hospital. This bullet is also known as The Magic Bullet.

JFK CE567The second bullet that hit Kennedy blasted his head apart. It fragmented into multiple pieces, as full metal jackets are designed to do when they hit a hard medium like bone at a high velocity. Less than fifty percent of this round was recovered. By the way, both of these bullets were ballistically linked to being fired from Oswald’s Carcano ‘to the exclusion of all other firearms’.

These two shots were recorded on the famous Zapruder film which shows them occurring 4.88 seconds apart with both trajectories in the same line to the sniper’s nest window.

Ergo. The two tightly grouped casings came from these two shots because the angle of ejection, ricochet, and rest pattern are similar.

So why was the third casing so far apart?

Simple. It was fired from a different angle.

Let’s think this thing out, then look at some more physical and witness evidence.

JFK Houston StIf you were Oswald, intent on shooting the President, would you expose yourself to the eyes-front approach of the motorcade as it approached you from the south on Houston St.?  (Remember, Oswald was unstable, but he was calculating.)  An approaching target, when you’re in a vertical vantage point, is a tough target to hit (Remember, I was a sniper so I know what I’m talking about). It’s common sense that he’d wait until JFK’s limo rounded the corner onto Elm St. and was nearly stopped right in front of him. That’s the most logical time to squeeze-off a shot.

But the two shots that killed JFK happened when the limo was far west of the sniper’s nest and vanishing from Oswald’s sight picture.

So why didn’t he fire when he had the closest opportunity?

Well, he probably did.

The angle of ejection for the lone casing is entirely consistent with Oswald firing it at the first logical opportunity which was when the limo was closest to him and the security eyes were facing away.

So how did he miss?

JFK Traffic LightSimple again. As Oswald was following Kennedy in his cross-hairs, a traffic light came into play. Oswald squeezed off the first round, but it hit the metal housing on the light and fragmented.

jfk traffic light5This accounts for other evidence like where James Tague, a bystander five hundred and twenty feet to the west, was hit in the cheek by a piece of concrete curb that was sent flying by a lead fragment and where Virgie Rachley stated to have seen sparks fly from the pavement behind the limo when the first of three shots were fired. The simplest explanation is that these fragments were from the first, and missing, bullet.

JFK Signal lightEvidence of the strike exists in blowup photos from a Secret Service re-enactment in 1964 where you can see a defect in the traffic light housing. Unfortunately the light was replaced years ago and was never examined.

So, like Occam’s Razor states, the simplest explanation is usually the correct explanation.

To me, it’s obvious that the missing JFK bullet has a simple explanation.

I’M TAKING CRAZY BACK!

Sarah Fader is my friend. We share mental illness. Sarah suffers it and she talks to me. I try to understand and support her. Both of us know there’s nothing crazy about having a mental illness. 

sarah12Hi, my name is Sarah Fader and I have mental illness. I have lived with panic disorder and depression for my entire adult life. I began having panic attacks as a teenager and they continued into adulthood.

I am a mother of two beautiful children. I am a sister, a daughter, a friend, and a human being. I am a survivor, a warrior, a writer, a poet, an actor, and an artist. I am many things, but I am not crazy.

Crazy is a derogatory word.

sarah3Crazy is a curse word in my book, which I have yet to write. Do not call me crazy. Call me brave, call me scared, call me Sarah, but do not call me “crazy,” because I’m not. I’m Sarah, and I’m a multitude of other adjectives that do not include that word.

sarah5I am your neighbor. I am sitting next to you on the train. I am talking to you in the grocery store. I am smiling at you as we pass one another on the street. I am just like everyone else you meet.

Only I’m not, because I am living with a significant mental illness that challenges me every day.

AFP6E1My mental illness is like an annoying neighbor who won’t get the hint when you want her to go home. My mental illness is my nemesis. It fools me. It tells me that I’m worthless. It tells me to give up. It tells me to stop. Go no further. Don’t do that, don’t succeed. You are not enough. You are not worthy.

I fight those thoughts every day.

sarah7But here’s the thing. Someone you are sitting next to in a coffee shop is just like me, but they won’t tell you that. Mentally ill people are living among us. They are just silenced continually by our society. 

So stop.

Look around you.

And know…

that if you have been called crazy… you are not alone…

I am standing beside you waving my freak flag high.

Because I’m taking crazy back.

You can’t have it anymore.

There is no crazy… only human.

*   *   * 

1962693_10152595512680278_1852829723_nSarah Fader is the creator of the popular parent-life blog Old School /New School Mom. Here’s her website:  oldschoolnewschoolmom.com. 

Sarah is a native New Yorker who enjoys naps, talking to strangers, and caring for her two small humans and two average-sized cats. Additionally, like about six million other American adults, Sarah lives with panic disorder.

SarahSigma10She writes for Psychology Today on her column Panic Life and has been featured on The Huffington Post, Good Day NY, and HuffPost Live. She is currently leading the Stigma Fighters campaign which gives individuals with mental illness a platform to share their personal stories.

Through Stigma Fighters, Sarah hopes to show the world that there is a diverse array of real, everyday people behind mental illness labels.

Check out Stigma Fighters at www.stigmafighters.com .

Here’s Sarah’s personal website oldschoolnewschoolmom.com

Follow Sarah on Twitter @osnsmon

WHY ARE WE WIRED FOR STORY?

Lisa Cron’s book Wired For Story was a writing ‘A-Hah’ moment for me. I’m so pleased to to have Lisa share this game-changing information as a guest at DyingWords.net. 

Wired2What would you say if I told you that what the brain craves, hunts for, and responds to in every story it hears has nothing to do with what most writers are taught to strive for? What’s more, that it’s the same thing whether you’re writing literary fiction or a down and dirty thriller?

You’d probably say, prove it. Fair enough.

Wired1First, the mistaken belief: From time immemorial we’ve been taught that things like lyrical language, insightful metaphors, vivid description, memorable characters, palpable sensory details, and a fresh voice are what hooks readers.

It’s a seductive belief, because all those things are indisputably good. But they’re not what hook the reader. The brain, it turns out, is far less picky when it comes pretty prose than we’ve been led to believe.

What does the brain crave?

Wired9Beginning with the very first sentence, the brain craves a sense of urgency that instantly makes us want to know what happens next. It’s a visceral feeling that seduces us into leaving the real world behind and surrendering to the world of the story.

Which brings us to the real question: Why? What are we really looking for in every story we read? What is that sense of urgency all about?

Thanks to recent advances in neuroscience, these are questions that we can now begin to answer with the kind clarity that sheds light on the genuine purpose of story and elevates writers to the most powerful people on earth. Because story, as it turns out, has a much deeper and more meaningful purpose than simply to entertain and delight.

Story is how we make sense of the world. Let me explain . . .

Wired7It’s long been known that the brain has one goal: survival. It evaluates everything we encounter based on a very simple question: Is this going to help me or hurt me? Not just physically, but emotionally as well.

The brain’s goal is to then predict what might happen, so we can figure out what the hell to do about it before it does. That’s where story comes in.

By letting us vicariously experience difficult situations and problems we haven’t actually lived through, story bestows upon us, risk free, a treasure trove of useful intel – just in case.

And so back in the Stone Age, even though those shiny red berries looked delicious, we remembered the story of the Neanderthal next door who gobbled ‘em down and promptly keeled over, and made do with a couple of stale old beetles instead.

Wired8Story was so crucial to our survival that the brain evolved specifically to respond to it, especially once we realized that banding together in social groups makes surviving a whole lot easier.

Suddenly it wasn’t just about figuring out the physical world, it was about something far trickier: navigating the social realm.

In short, we’re wired to turn to story to teach us the way of the world and give us insight into what makes people tick, the better to discern whether the cute guy in the next cubicle really is single like he says, and to plan the perfect comeuppance if he’s not.

Wired10The sense of urgency we feel when a good story grabs us is nature’s way of making sure we pay attention to it. It turns out that intoxicating sensation is not arbitrary, ephemeral or “magic,” even though it sure feels like magic. It’s physical. It’s a rush of the neural pleasure transmitter, dopamine. And it has a very specific purpose.

Want to know what triggers it?

Curiosity.

Wired5When we actively pursue new information – that is, when we want to know what happens next — curiosity rewards us with a flood of dopamine to keep us reading long after midnight because tomorrow we just might need the insight it will give us.

This is a game changer for writers.

It proves that no matter how lyrical your language, or how memorable your characters, unless those characters are actively engaged in solving a problem – making us wonder how they’ll get out of that one – we have no vested interest in them.

Wired11We can’t choose whether or not to respond to story. Dopamine makes us respond. Which is probably why so many readers who swear they only read highbrow fiction are surreptitiously downloading Fifty Shades of Grey. I’m just saying.

I know that many writers will want to resist this notion. After all, the brain is also wired to resist change and to crave certainty.

And for a long time writers were certain that learning to “write well” was the way to hook the reader.

Wired6So embracing a new approach to writing – even though it’s based on our biology, and how the brain processes information — probably feels scary. The incentive to focus on story first and “writing” second, however, is enormous. To wit:

  • You’ll reduce your editing time exponentially because story tends to be what’s lacking in most rough drafts. Polishing prose in a story that’s not working is like rearranging deck chairs on the Titanic.
  • You’ll have a 1000% better chance of getting the attention of agents, editors and publishers. Yeah, 1000% is arbitrary, but it’s not far off. These professionals are highly trained when it comes to identifying a good story. They like good writing as much as a next person – but only when it’s used to tell a good story.
  • You’ll have a fighting chance of changing the world – and I’m not kidding. Writers are the most powerful people on the planet. They can capture people’s attention, teach them something new about themselves and the world, and literally rewrite the brain – all with a well-told tale.

Indeed, the pen is far mightier than the sword.

That is, if you know how to wield it.

*   *   *

Wired3Lisa Cron is the author of Wired for Story: The Writer’s Guide to Using Brain Science to Hook Readers From the Very First Sentence (Ten Speed Press). I’m thrilled to have Lisa share her knowledge, observations, and wisdom through this guest post at DyingWords.net.

Wired2Wired For Story caused me to go right back to square one and revise my No Witnesses To Nothing manuscript. For someone like me who comes from a totally anal adherence to science, I had a Eureka moment when I Lisa showed me the straightforward science of storytelling. Our brains are hard-wired for stories – always have been, always will be. This is a science ap for a page-turner. I’m serious. If you want to bring up your writing game… READ THIS BOOK!

Lisa has worked in publishing at W.W. Norton, as an agent at the Angela Rinaldi Literary Agency, as a producer on shows for Showtime and CourtTV, and as a story consultant for Warner Brothers and the William Morris Agency. Since 2006, she’s been an instructor in the UCLA Extension Writers’ Program.

Lisa works with writers, nonprofits, educators and organizations, helping them master the unparalleled power of story, so they can move people to action – whether that action is turning the pages of a compelling novel, trying a new product, or taking to the streets to change the world for the better.

Lisa’s literary agent is Laurie Abkemeier at DeFiore and Company.

Her video tutorial Writing Fundamentals: The Craft of Story can be found at Lynda.com.

Watch Lisa’s Ted Talks video here:  https://www.youtube.com/watch?v=74uv0mJS0uM

Visit her website at  http://wiredforstory.com/

Follow on Twitter   https://twitter.com/LisaCron

Here the Wired For Story Facebook page  https://www.facebook.com/pages/Wired-For-Story/116220388438647