Showing posts with label Hollywood writers strike. Show all posts
Showing posts with label Hollywood writers strike. Show all posts

Friday, August 20, 2010

Everything I know about CSI...

by Michael Dymmoch

...I didn't learn from watching CSI. The popular TV franchise seems to be the butt of jokes from cops, writers and real crime scene investigators.

So where does one satisfy one's curiosity about real crime scene investigations?

Real cops are a good source—if you can get them to talk to you. Authors Mike Black and Dave Case, both police officers, do a great crime scene presentation at mystery conferences. And they're pretty easy to talk to at signings—especially their own.

Most police departments have an information officer whose job is to field questions from the press and public. The Chicago Police have a News Affairs Department, which I've found to be quite helpful. Citizen's Police Academies are another good source for information about local procedures and regulations. And local departments will sometimes arrange ride-alongs for writers or interested citizens. Then there's the FBI Citizens' Academy for civic leaders who can talk a local agent into sponsoring them (and can pass a background check).

Conferences frequently feature panels, lectures or seminars on crime related topics (and sometimes on GUNS!). Jan Burke arranged a superb Forensic Science Day for the Left Coast Crime conference this spring at the Hertzberg-Davis Forensic Science Center, home of the Los Angeles Regional Crime Lab. Lecturers gave us slide presentations on two real crime scenes, including bloody photos, and an explanation of how the scenes were processed and what the evidence proved. We also got a short course on document examination and a tour of the lab itself, which is state of the art and has separate facilities for processing trace evidence, documents, firearms, and DNA (with two separate rooms with different purposes and different colored lab coats to minimize human error). There's also a killer gun collection, a garage with a lift for under-car searches, offices for processing paperwork, and classrooms where CSU students study to become CSIs.

Which leads to one of the best sources of accurate CSI information: College or University Criminal Justice Departments. My most recent field trip was to a University of Wisconsin-Platteville Seminar. Basic Forensic Academy for Authors was taught by UW-P lecturer Joseph Lefevre, a police officer and fire department photographer. The venue was a ranch-style house designed as a laboratory/observatory and constructed by UW students on the University's College Farm property. The house has an attached garage and full, semi-finished basement that can serve as a lecture hall or an industrial crime scene. The main floor has a living room, dining room, kitchen, laundry room and bath. A third room is equipped with video monitors, and see-through observation mirrors allow instructors to monitor their student CSIs via cc TV; every room but the bathroom is covered by video cameras. Although we weren't able to dig deeply into it, we were informed that the Forensic Science program also includes a fenced "body farm" where students monitor the progress of decomposition in pig cadavers.

The seminar began with the first-officer-on-the-scene's responsibilities and what the CSI does when he(she) arrives. What most people over look is the need to first determine whether or not a crime has occurred. Covered during the first day were methods used to examine and document indoor and outdoor scenes, as well as how to locate, collect and process evidence. The importance of securing a scene, documenting who has access to it, and maintaining the chain of evidence were stressed. Two indoor crime scenes were set up for us to examine and we were quizzed as to what might have happened at each scene. We also did an outdoor search for evidence and were able to locate two syringes, and two shell casings discarded in a field adjacent to the house.




Making casts of footwear impressions, outdoors, and lifting finger prints from various objects, indoors, were also part of the hands-on instruction.

The second day of the seminar, we covered the basics of proper evidence collection. (Here's something you don't see on TV's CSI. Proper technique dictates that new gloves be put on to pick up every piece of evidence that may require processing for DNA!)

After which, we went into the house and "investigated" the murder of the "homeowner."



We examined and processed the entire house, took photographs of each room, then medium and close up photos of each item of evidence with numbered tents placed next to each item, and rulers next to items whose sizes weren't obvious. Finally we collected and bagged the evidence and logged it on an inventory sheet.



Mr. Lefevre told us that to preserve continuity, one person usually works a scene from start to finish with occasional help with note taking. Real crime scene investigation is painstaking and time consuming. And processing a scene like the one set up for us can take 12 hours or more.

Sunday, June 07, 2009

The Other Hat

by Libby Hellmann

I loved Sara’s post on Friday. Eloquent as usual, she talked about the need for quiet… a sustained quiet in order to dig down and pull out the words and ideas and feelings that are burbling beneath our psyches. I long for those periods, too, and wish they came more frequently. Like her, I face many distractions, some of my own making, some not. But that’s not really what I wanted to talk about.

The Printers Row Lit Fest was held this weekend, and for many authors, Printers Row represents the other hat we wear these days… the promotional one. Many of us appeared at booths, including Mystery Writers of America and the Society of Midland Authors, and Big Sleep Books, hoping to sell our books, because, after all, that’s what you do at a book fair.

I don’t mind doing promotion. But I’m certifiably schizophrenic. Promotion -- especially at a book festival -- is completely antithetical to writing. There I am at a booth, books stacked in front of me, watching hundreds of strangers pass by on their way to ... somewhere. I’m aware that a host of additional authors at other booths sit with their books stacked up in front of them, also eagerly hoping to sell. And that doesn’t include the dozens of author panels, which have their own signings.

This year was especially challenging. It was cold and rainy on Saturday, warm and rainy on Sunday. Last year, if you remember, it was so hot we were shvitzing all day. On top of the elements, someone was either singing or playing French ballads over and over. Very loud, very minor key, very depressing. Note to organizers: no more French songs or I may have to ask my friend Vinny to handle things. Vinny is the type of guy you do not want to meet in a dark alley.

In fact, Printers Row can be overwhelming to an author who is not an extrovert, which is most of us. We have to be enthusiastic, cheerful,and eager to talk, but we can’t be too pushy. We have to smile, knowing most of the people couldn’t care less about us and our books. As opposed to the sensitivity with which we pride ourselves in our books, at book fairs we have to have a thick skin. We have to toss off the dismissive waves of the hands, the “don’t-bother-me” glares when you ask passers by whether they read mysteries. We have to recognize that most people don’t read crime fiction and still think the only books worth buying are “literature.” And that more than half of the others don’t read at all and are just looking for posters, blank journals (someone asked me if I had any for sale) or gifts.

We have to be pleasant, even when they hold your book in their hands (marketing people say it’s a good sign if they pick up the product and actually examine it) but then put it back down. We have to realize that most of the flyers we printed up so carefully and expensively will end up in the trash. We have to understand that we’re competing, not just with other mystery authors, but every author who’s ever written a book. And while we may want to turn up our nose because none of them could possibly write as well as us, most fair-goers don’t know that. And we can’t say anything.

Given all those obstacles, it’s a wonder any author would willingly put themselves in this position. But I do, year after year, because of one reason: when I do sell a book, it’s magic. I am acutely aware that someone has parted with their hard-earned money because they think I might offer them something of value. Usually, it’s someone I don’t even know. Someone with whom I’ve chatted for only 30 seconds.

It’s amazing to me. Absolutely frigging amazing that a stranger is willing to take a gamble on an intangible idea that happens to be my story. I feel humbled, grateful, and slightly awed. It’s why I write in the first place. And if I feel that way, imagine how the hundreds of other authors feel who sell one of their books to strangers. It really is magic.

So thanks, Printers Row and the Tribune, for making the magic happen. I’ll be back again next year... assuming the French music is gone.

For now, though, I’m happy to take off the other hat for a while and along with Sara, hope for a golden day.

What do you think?

Tuesday, December 11, 2007

by Sean Chercover

As I’m sure you’ve heard, the Writers Guild of America is still on strike. Even though I have personal financial reasons to want this strike over, I stand firm on the side of the WGA.

In case you haven’t been following the story, here’s a video that explains the basic WGA position (which is extremely reasonable, in my opinion):



If that was too compliated, here’s the WGA position, as explained by a five-year-old:




Just to be fair, let's listen to some voices of uncertainty from the other side of the bargaining table:



Okay, now it’s all clear as . . . (not "mud", because that would be a cliché . . . something else that isn’t mud, but also isn't clear . . . something that the reader doesn't expect, but that makes perfect sense . . . damn, I wish the writers weren’t on strike; they could give me a great simile):

Speaking of a world without writers, check out these classic movie lines, revised:



But seriously, we realize that this strike is hard on everyone. Here’s a look at how the strike is harming others in Hollywood (WARNING: offensive language):




Okay, maybe that was harsh. But you know, despite the acrimony, we all want to see a happy ending to this thing, and the next video should warm your cockles:



And finally, there’s the "Writers Strike Dance" guy (if anyone can explain this, please send me an email. And if the Writers Strike Dance Guy is reading this, can you hook me up?):



So what can you do to help?

Well, you can visit www.unitedhollywood.com to learn more and get involved. You can give things other than DVDs for Christmas (or whatever) this year.

Or, you can just surf around YouTube and enjoy more entertaining videos about the strike. It beats the hell of whatever's left on television these days.