CAN YOU BEAT THE POLYGRAPH?

A1The polygraph, or lie detector, is a forensic investigative tool that’s used as an aid to verify the truthfulness of a person’s statements. Polygraph examinations— properly conducted by trained professionals on competent subjects with a clear issue— are remarkably accurate, but they’re not foolproof. Yes. They’ve been known to be beaten. The question is—can you?

Polygraph examination interpretation is not admissible as evidence in court. They’re not a replacement or shortcut for a proper investigation and a thorough interview of the subject. Statistics show that the majority of people who undergo polygraph examinations are found to be truthful. Perhaps the term Lie Detector should be replaced with Truth Verifier.

A3In my policing career, I’ve been involved in well over a hundred polygraph examinations, including getting hooked up myself for a test drive. (Turns out I’m a terrible liar—not sure how I’m gonna make out with this new career as a fiction writer.) The subjects I’d had polygraphed were a mixture of suspects, witnesses, complainants, and victims. I’d say that sixty percent of the subjects were truthful, thirty percent were lying, and ten percent were inconclusive.

It makes sense, when you think about it, that the majority are truthful because they know it will work to their advantage. I can’t think of the number of times I’ve had subjects refuse to take the test, giving excuses everywhere from “Those things are rigged to frame me” to “I heard you get testicle cancer from it”.

Before giving you some tips on how to pass a polygraph when you’re dead-ass lying, let’s look at what the thing is and how it works.

A2The word polygraph comes from the Greek word polugraphos which means “to sniff-out bullshit”. (Go ahead—call me a liar). Polygraphs have been around since the 1920s and have evolved from clunky paper-reel with ink-pen devices to modern laptops with automated scoring systems. Clinically, the process is known as psychophysiological detection of deception.

The instruments are a combination of medical devices that monitor a subject’s physiological responses to a set of questions designed to put the subject under the stress; the stress associated with deception. The involuntary bodily functions include heart rate, blood pressure, respiration, galvanic skin conduction, and perspiration.

A4Polygraphic theory dictates that a subject will show a spike in some, or all, of these functions when asked a question and forced to knowingly lie. In a criminal investigation, the examination questions are formed between the polygraphist and the subject during an extensive pre-test interview.

There are four categories of questions—all must be answered  “Yes” or “No”. Three categories are control questions and one is issue questions.

Category One is where the subject conclusively knows they’re truthful:

Q — Is your name Garry Rodgers?  “Yes”
Q — Are you a retired police officer?  “Yes”
Q — Did you make the Amazon Top Ten list? “Yes”

Category Two is asking the subject ambiguous questions:

Q — Is there life after death?  “Yes”
Q — Did the chicken come before the egg? “No”
Q — Are you going to make the Top Ten list again?  “Dude, let me tell ya…”

Category Three has the subject intentionally lie:

Q — Were you kidnapped by aliens?  “Yes”
Q — Did you ever ride a camel?  “No”
Q — Are you going to try make the Top Ten list again?  “No”

Category Four deals with the issues:

Q — Did you murder Jimmy Hoffa?  “No”
Q — Do you know who murdered Jimmy Hoffa?  “No”
Q — Did  murdering Jimmy Hoffa help you get on the Top Ten list?  “It’s not how it looks…”

A7Only “Yes” or “No” answers are acceptable during a polygraph examination because the issue has to be clear in the subject’s mind. Black and White. All clarification is worked-out in the pre-test interview. The subject is never surprised by the question, but the question order is completely unknown. This creates an atmosphere of anxiety as the subject waits to hear the questions that really matter.

The biggest concern that I’ve heard from people who are asked to submit to a polygraph is “What happens if I’m nervous?”

A8This is expected. Anyone, police officers included, would experience anxiety when being examined. Part of a polygraphist’s skill is to build a rapport with the subject and put them at relative ease before the questioning starts. One of the reasons in building this rapport is to get the subject to volunteer information that the investigation hasn’t uncovered. I’ve seen subjects give critical facts because the right questions weren’t asked during the investigation and I’ve seen subjects fall apart and confess before being strapped into the chair.

The key to successful polygraph examinations is the skill of the examiner. The polygraph is just a tool—an extension of the examiner’s mind and voice.

A6So — given there’s proven science and skill behind polygraphs — how can you beat one?

Like I said, given a professional examiner, a competent subject, and a clear issue, polygraph results are remarkably accurate. There’s always exceptions and here’s some tips on how to pass the graph.

  • Prepare well in advance.
  • Research and understand the process so you won’t feel oppressed. The examiner will take every advantage of your ignorance.
  • Know the issue(s) and know what the examiner is looking for.
  • Talk to someone who has experienced a test.
  • Approach the test as an extreme job interview. ‘Dress for the job’. Arrive on time. Sober. Rested. Do not reschedule. Make a good first impression.
  • Know that you’re going to be video recorded.
  • Understand the test starts right when you arrive and ends when you leave. It’s not just the time you’re hooked to the machine.
  • Be on guard. There will be trick questions in the pre-test. It’s part of the process.
  • Listen carefully to what the examiner says and respond accordingly. Do not try and monopolize the conversation.
  • The examiner is not your friend, despite how nice she comes across in the pre-test. Her job is to get to the truth. Remember—you’re dealing with a highly trained professional who knows psychology. If her exam shows you’re deceitful, she’ll go for your jugular in the post-test.
  • Recognize the relevant and irrelevant control questions. Focus on what’s relevant and do not offer more information than what’s pertinent to the issue.
  • Play dumb. Don’t try to impress the examiner that you’ve studied up. You’ll only look stupid.
  • Breathe normally. Shortness of breath naturally triggers the other body functions to accelerate and it will increase nervousness.
  • Take lots of time to answer.
  • Think of something mentally stressful when answering a control question—like the time when you were a kid and your dog was hit by the train. That will raise the ‘normal’ graph peaks.
  • Think of something calming when answering issue questions—like getting a new puppy. That will flatten stress peaks.
  • Keep your eyes open during the questions. The examiner will ask you to close them because this significantly alters your sensory awareness and puts you at a disadvantage. This is very important.
  • Bite your tongue during every question except the truthful control ones. This levels the playing field.

So, who’s got away with taking a lie detector?

A10I call her The Mother From Hell. I investigated a bizarre case of Munchausen Syndrome by Proxy—a rare form of child abuse where a parent causes harm to their child to bring attention to themselves. This woman repeatedly complained that her infant daughter was choking, then was caught by hospital staff with her hands on the girl’s neck. She denied it. We polygraphed her. She blew the needles off the machine and confessed. The Mother From Hell got off in court because they ruled her confession inadmissible due to it being elicited under oppression from the polygraph examination.

A12Gary Ridgway, The Green River Killer from Seattle, strangled over fifty women in the 1980’s. He was on police radar early in the serial killing investigation, ‘passed’ a polygraph, and got warehoused as a suspect. He went on to kill many more before being caught on DNA.

Can you beat the polygraph?

The best advice I can give is don’t take one.

WHAT THE HECK IS THE STORY GRID?

A3The Story Grid is a methodology. It’s a diagnostic tool – not a formula – designed to teach writers how to self-edit and find what’s wrong with their novel and how to fix the manuscript before it goes to a commercial editor. It’s a story CT scan, seeing at the 50,000 foot macro-level, as well as line-by-line at the micro-level, deep inside. The Story Grid is what good self-editors must know about writing a Best Selling novel.

Shawn Coyne is a highly accomplished editor who developed the Story Grid. He’s right when he says that, in today’s world, a writer must deliver publish-ready material every time. Coyne’s Story Grid system analyzes manuscripts like a left-brain editor thinks – after the creative right-brain writer finishes initial drafts.

The Story Grid focuses on genre fiction.

AA2Ah… what, exactly, is genre?

Genre is a fancy word for managing audience expectations of categories. It classifies stories – crime, thriller, mystery, romance, sci-fi, erotica – the type of stuff that literary snobs turn their nose up at, but what sells in a commercial market and makes publishers (thus writers) money.

Coyne explains the makeup of genre fiction in a five-leaf clover concept:

  1. A8Time – How long will it take to read?
  2. Structure – What’s the plot?
  3. Style – Comedy? Thriller? Tear-jerker? Fifty Shades?
  4. Reality – How much suspension of disbelief?
  5. Content – Takeaway for the reader?

The Silence Of The Lambs is a genre novel. It’s not a long read, has a complex plot, a thriller style, is easily believable, and leaves the reader remembering it forever.

SOTLThe Silence Of The Lambs is a perfectly crafted story which Coyne analyzes in his book The Story Grid and how his Foolscap, Spreadsheet, and Graph methods apply.

The Foolscap Global Story Grid is Step 1 in Coyne’s system. It represents how an editor thinks of the macro view of the story in no more space than a sheet of foolscap allows; getting the entire outline of a novel in one shot. Very simply, The Silence Of The Lambs is viewed as:

Beginning Hook – Clarice Starling gets job to interview Hannibal Lector to find Buffalo Bill.

Middle Build – Hannibal toys with Clarice, then escapes, leaving Clarice on her own.

Ending Payoff – Clarice catches and kills Buffalo Bill.

It’s the classic 3-Act structure. Expanded, but still on one foolscap page, the Foolscap Grid looks like this:

The Story Grid - Foolscap

The Foolscap Grid is a general, checking tool for identifying weakness in overall story and how the collection of scenes builds a gross curve of action with major story movements. It’s the macro analysis.

Step 2 is dissecting individual scenes and plugging them into an Excel spreadsheet. It’s the micro-analysis where the scenes are assigned fourteen values:

A9Scene number. Word count. Story event. Value shift. Polarity shift. Turning point. Point of view. Period of time. Duration. Location. Names of onstage characters. Number of onstage characters. Names of offstage characters. Number of offstage characters.

The Spreadsheet Grid clearly identifies what’s happening in each scene and how it contributes to the global story. If any particular value is weak, and not doing its job in furthering the story – not keeping the reader engaged through change and surprise – the writer is able to have a quick ‘meeting with themselves’ and fix the problem, rather than having to wait to get the message back much later from an independent editor.

A10Step 3 is taking the values from the spreadsheet and putting them in a Graph Grid. Here the rise and fall of the story are mapped and the collision of characters’ internal and external conflicts are noted. The graph is bisected by a central line running left to right across the mddle with each scene number being assigned a seperate box. In the upper half are the positive forces of the story which Coyne terms Life. In the lower half are the negative forces of Death. Life and death conflict is central to the story.

A7When the positive and negative strength of the values are plotted in relation to the scene, the overall story arch stands right out. Any interruption in the flow will show as a bend in the arch which is a red flag that something needs fixing. The flow is shown as a sine / cosine cruve. In Coyne’s analysis of The Silence Of The Lambs the beginning hook, the middle build, and the ending payoff neatly cross and coincidently seem to balance.

It’s no coincidence.

Author Thomas Harris deliberately planned The Silence Of The Lambs to have a storyline that flowed this way. It’s unknown if Harris used a similar foolscap / spreadsheet / graph system, but he arrived at a masterful result in one of the best thriller genre novels ever written.

A11There’s far more to The Story Grid than I can cover in a short blog post. The hidden genius in this system is its effective use in outlining a novel, rather than waiting till drafts are done then analyzing flow.

Here’s some links to Shawn Coyle’s The Story Grid.

Watch the Free 5 Part Video series:  http://shop.blackirishbooks.com/blogs/the-story-grid-videos/36625473-video-one

Buy The Story Grid at Amazon:  http://www.amazon.com/Story-Grid-What-Good-Editors/dp/1936891352/ref=sr_1_1?s=books&ie=UTF8&qid=1440785390&sr=1-1&keywords=the+story+grid+shawn+coyne&pebp=1440785394120&perid=1VK8CDVZM7H26THBR36C

Visit Shawn Coyne’s website:  http://www.storygrid.com/

BIG RIVER – WHAT NOVELISTS CAN LEARN FROM SONGWRITERS

AB6Johnny Cash was a brilliant musician. Singer. Performer. And masterful songwriter. Johnny Cash condensed high concept ideas into short, resonating stories – ripping people’s hearts in four or five stanzas – that stayed in millions of ears and memories. Big River was his best-told story. And he played it when inducted into the Rock & Roll Hall of Fame.

A writer friend recently ranted about working with a Grammar Nazi. Wait – How the hell does that relate to the man in black? And why are these opening paragraphs so disjointed? Stick with me.

“Jesus Christ! My editor’s gagging my friggin’ voice.” Frustration in her email zinged through me.

“Know it.” I keyed back.

AB5“Who says we can’t start a sentence with ‘And’?” She pounded. “We’re crime-thriller writers, for God’s sakes. Not tryin’ for a Pulitzer Prize in English Lit.”

I nodded. “Remember what King says – ‘Grammar don’t wear no coat ‘n tie’.” (Stephen King’s advice in On Writing).

‘Yep. Holding m’ground.” She breathed out. “It’s my story and I’m stickin’ to tellin’ it my way.”

“Good for you!” I pecked, thinking So much of what makes a great story is the way it’s told. Take songwriting. There’s not a lick of good grammar in most songs and some songs are timeless stories. Like Big River. I bet novelists can learn a lot from songwriters. 

That night I kicked back with (a) glass of wine, headphones on, rockin’ to The Highwaymen – Live at Nassau Coliseum (1985). Their encore was Big River

AB4The Highwaymen: Willie Nelson. Waylon Jennings. Kris Kristopherson. And Johnny Cash. All great musicians. Singers. Performers. And masterful songwriters. 

But Johnny Cash was a one-of-a-kind musical figure, quintessentially American; able to identify with the outlaw, and vice-versa – craggy, with a voice unlike anyone’s. Waylon & Willie worshiped him. Kris Kristofferson wrote “He’s a poet, he’s a picker, he’s a prophet, he’s a pusher, he’s a pilgrim, and he’s a preacher.”

Johnny Cash’s masterpiece, Big River, was cut in 1958 and topped the charts. It has everything in one story.

Now I taught the weeping willow how to cry
And I showed the clouds how to cover up a clear blue sky
And the tears that I cried for that woman are gonna flood you Big River
Then I’m gonna sit right here until I die

I met her accidentally in St. Paul, Minnesota
And it tore me up every time I heard her drawl, southern drawl
Then I heard my dream was back downstream cavortin’ in Davenport
And I followed you Big River when you called

Then you took me to St. Louis later on down the river
A freighter said she’s been here but she’s gone, boy, she’s gone
I found her trail in Memphis but she just walked up the bluff
She raised a few eyebrows and then she went on down alone

Now, won’t you batter down by Baton Rouge, River Queen, roll it on
Take that woman on down to New Orleans, New Orleans
Go on, I’ve had enough, dump my blues down in the gulf
She loves you, Big River, more than me

Now I taught the weeping willow how to cry, cry, cry
And I showed the clouds how to cover up a clear blue sky
And the tears that I cried for that woman are gonna flood you Big River
Then I’m gonna sit right here until I die

AB16Re-reading the lyrics – even when I thought I understood the words – “then I heard my dream was back downstream cavortin’ in Davenport ” got me. Like, how good is that? 

Big River is a study in storytelling. High concept in a timeless, global theme of lost love. Slots into a romance genre – the largest commercial fiction market. Opens with an emotional prologue. Sharp hook in beginning act; builds tension in middle; ends in the third act by answering the central story question.

AB15Big River introduces protagonist and antagonist in the opening line of the first scene. There’s desire and conflict; hope and despair.  Stays in first person point-of-view. Past tense. Every word – Every line – Every paragraph advances the story, following a forlorn search from the Mississippi’s top to its bottom – in the heart of American country music.

Big River has implied dialogue. Adjectives that work. Not a useless, stinky-little adverb in sight. Beats become scenes; scenes sequence acts. There’s subplot and subtext. Every word counts. Setting is vivid… but time frame is everywhere in the past two hundred years. And characters aren’t named – but they’re strongly identifiable – because they could be you and me.

There’s not a lick of good grammar in Big River. Punctuation’s the shits!! There’s run-ons and cut-offs and pretty much everything a Grammar Nazi could hate.

AB8But the voice? So clear. So large. So unique. So Johnny Cash. His theme is timeless. His story universal.  Big River is told in 281 words.

Novelists can learn a lot from songwriters. 

Pour yourself a glass of wine, yes (a) glass of wine. Put your headphones on, girl, yes put your head phones on. Watch and listen to these videos, these timeless storytelling videos, and sit right there until you die.

*   *   *

Johnny Cash at the Grand Ole Opry in 1962  https://www.youtube.com/watch?v=s_21p14TAXM

Highwaymen Live at Nassau Coliseum in 1985  https://www.youtube.com/watch?v=-hy6_b7sQuY

Johnny Cash’s induction into Rock & Roll Hall of Fame in 1992 (Jamming with rocks’s best, like John Fogerty and Keith Richards) https://www.youtube.com/watch?v=jIWBEggDFa0