essay about a crime scene

How To Describe A Crime Scene In A Story (100+ Examples)

Many of the best stories include a crime scene — but how do you write them?

Here is how to describe a crime scene in a story:

Describe a crime scene in a story by focusing on key elements like physical layout, visible evidence, atmospheric conditions, signs of struggle, the victim’s condition, witnesses, investigator’s approach, forensic evidence, time of day, surrounding area, and emotional tone.

This guide offers insights on different types of crime scenes and details 10 key elements to describe, each with examples, to bring your narrative to life.

Types of Crime Scenes

Table of Contents

Crime scenes in stories can vary widely, reflecting the nature of the crime and setting.

Common types include:

• Residential Scenes: Homes or apartments where a crime like burglary or homicide has occurred.
• Commercial Scenes: Business-related locations, including offices, shops, or warehouses.
• Outdoor Scenes: Open spaces like parks, streets, or rural areas.
• Vehicle Scenes: Crimes occurring in or involving vehicles.
• Virtual Scenes: Cybercrimes or crimes involving digital spaces.

Each type offers unique opportunities for storytelling and description.

Physical Layout

The physical layout of a crime scene is fundamental in setting the stage for your story.

Describing the arrangement of rooms, the spacing between objects, and the overall size and shape of the scene can deeply immerse readers in the environment.

It’s important to consider how the layout affects the crime itself, the investigation, and the movement of characters within the space.

• “The cramped apartment made the aftermath of the struggle even more chaotic.”
• “A lone chair lay overturned in the center of the spacious hall.”
• “Narrow alleyways twisted like a labyrinth around the crime scene.”
• “The open-plan office allowed a clear view of the disturbing scene.”
• “A small, cluttered workshop, tools scattered as if in a hurry.”
• “The luxurious mansion’s many rooms hid secrets in every corner.”
• “A solitary streetlight cast eerie shadows over the deserted road.”
• “The tiny cabin’s single room felt even smaller with the evidence of violence.”
• “The car’s interior was a confined stage for the crime.”
• “The expansive rooftop offered an unobstructed view of the chaos below.”

Visible Evidence

Visible evidence at a crime scene is key to building suspense and intrigue.

Describe the type and placement of evidence like bloodstains, bullet casings, or disturbed items.

This not only helps in visualizing the scene but also hints at the nature of the crime and the possible sequence of events.

• “Blood spatters painted a grim picture on the white walls.”
• “Scattered papers around the room hinted at a frantic search.”
• “Bullet casings littered the floor, each telling its own story.”
• “A shattered vase lay in pieces, a silent witness to the struggle.”
• “Footprints in the dust led to a locked door.”
• “A torn photograph clutched in the victim’s hand raised more questions.”
• “The knife lay discarded, its blade stained with betrayal.”
• “Broken glass sparkled under the streetlights, a remnant of the night’s terror.”
• “The computer screen still displayed the last message received.”
• “A trail of muddy footprints vanished into the night.”

Atmospheric Conditions

Atmospheric conditions can greatly influence the mood of a crime scene.

Describing the weather, lighting, and even smells can add a layer of realism and affect how characters interact with the scene.

Whether it’s a stormy night, a stifling hot day, or a cold, foggy morning, these details can heighten the sense of suspense and urgency.

• “Rain washed over the scene, blurring the lines between evidence and nature.”
• “The stifling heat of the room made every breath heavy with tension.”
• “Fog cloaked the area, shrouding the gruesome scene in mystery.”
• “The dim light of dawn cast long shadows across the crime scene.”
• “A sharp, metallic smell hung in the air, mingling with the scent of rain.”
• “The crackle of thunder echoed the chaos left behind.”
• “Streetlights flickered, casting an eerie glow over the abandoned car.”
• “The chill of the room seemed to seep into the bones.”
• “Sunlight streamed through the window, illuminating the dust and the stillness.”
• “A gust of wind carried whispers of the crime through the alley.”

Signs of Struggle

Describing signs of struggle at a crime scene can add a dynamic element to the narrative.

It allows readers to infer the intensity and nature of the confrontation.

Disarranged furniture, marks on the floor or walls, and the position of the victim can all contribute to a vivid portrayal of the events leading to the crime.

• “Furniture lay upturned, silent markers of a desperate fight.”
• “Scratches on the hardwood floor told a tale of resistance.”
• “The room was in disarray, as if a storm had passed through.”
• “Marks on the walls suggested a violent scuffle.”
• “The body lay at an odd angle, limbs splayed unnaturally.”
• “A broken lamp lay beside the victim, evidence of a last stand.”
• “The door hung off its hinges, testament to a forceful entry.”
• “Scuff marks near the window hinted at a hasty escape.”
• “The disheveled bed spoke of a struggle that knew no boundaries.”
• “A trail of belongings led from the door to the body, a path of panic.”

Victim’s Condition

The condition of the victim at a crime scene is a crucial element in storytelling.

Describing their position, injuries, and expressions can evoke empathy and curiosity. This description can also offer clues about the nature of the crime and the relationship between the victim and the perpetrator.

• “The victim lay still, eyes wide open in silent accusation.”
• “Bruises marred the skin, hinting at a brutal confrontation.”
• “A peaceful expression belied the violence of the death.”
• “Blood pooled around the body, a stark contrast to the pale skin.”
• “The victim’s clenched fist held a lock of hair, a clue perhaps.”
• “Burn marks told a story of unspeakable pain.”
• “The body was curled up, as if in protection against the final blow.”
• “A single gunshot wound was the deadly punctuation to the struggle.”
• “Scratch marks on the arms spoke of a desperate defense.”
• “The victim’s clothes were torn, but the dignity remained intact.”

Witnesses and Bystanders

Witnesses and bystanders add depth to a crime scene, providing perspectives and reactions that enrich the narrative.

Describing their emotions, behaviors, and interactions with the scene or investigators can create a more complex and engaging story.

These characters can offer vital clues, red herrings, or deepen the mystery.

• “A crowd gathered, eyes wide with shock and curiosity.”
• “A lone witness stood trembling, her account faltering with fear.”
• “Curious onlookers whispered theories, each more elaborate than the last.”
• “A child’s innocent eyes watched from a distance, unknowing yet understanding.”
• “Bystanders offered hushed condolences, their faces etched with concern.”
• “An old man recounted the event, his voice quivering with emotion.”
• “A neighbor peeked through curtains, her curiosity tinged with fear.”
• “Passersby paused, their morbid fascination evident.”
• “Witnesses clustered together, seeking comfort in shared disbelief.”
• “A jogger stopped, her morning routine shattered by the grim scene.”

Investigator’s Approach

The way an investigator approaches a crime scene can set the tone for the investigation.

Describing their initial observations, methods of examination, and interaction with the team provides insight into their character and the investigative process.

It can also foreshadow the challenges they might face in solving the crime.

• “The detective paused at the threshold, taking in every detail.”
• “Methodically, she began to piece together the silent story.”
• “His keen eyes scoured the scene, missing nothing.”
• “With a gloved hand, the investigator pointed out a barely visible clue.”
• “He walked through the scene, deep in thought, piecing together the puzzle.”
• “The lead detective knelt beside the victim, her expression somber.”
• “They worked in silence, respecting the gravity of the scene.”
• “Each team member had a role, a dance of investigation unfolding.”
• “The investigator’s notebook was filled with rapid, meticulous notes.”
• “He paused to photograph a seemingly insignificant detail.”

Forensic Evidence

Forensic evidence is crucial in crime scene descriptions, as it adds a layer of scientific intrigue and realism.

Detailing how evidence is collected and analyzed can captivate readers and lend credibility to the story.

This includes fingerprints, DNA samples, digital footprints, and other technical details.

• “Forensic experts dusted for fingerprints, a silent ballet of precision.”
• “DNA samples were carefully collected, each a potential key to the mystery.”
• “Technicians photographed the scene, preserving every detail.”
• “A fiber found on the victim promised secrets yet to be revealed.”
• “Blood samples were taken, the hope of DNA analysis looming.”
• “The computer’s hard drive held the potential to unlock the case.”
• “Ballistics experts examined the bullet, a silent witness to the crime.”
• “The pattern of blood spatter was meticulously analyzed.”
• “Footprints were cast, each a clue set in stone.”
• “The team scoured for trace evidence, invisible to the untrained eye.”

Time of Day and Lighting

The time of day and lighting at a crime scene significantly affect its atmosphere and the investigation.

Describing whether a crime occurred under the cover of night, in the harsh light of day, or during the eerie twilight hours can set a distinct mood.

Lighting can also impact how evidence is perceived and discovered.

• “Under the harsh noon sun, the stark reality of the crime was undeniable.”
• “The crime scene, bathed in the soft glow of dusk, held a deceptive calm.”
• “Moonlight cast long, ominous shadows across the abandoned warehouse.”
• “The flickering streetlamp created a dance of light and dark around the scene.”
• “As dawn broke, the first rays of light revealed the tragedy.”
• “In the dim light of early morning, details of the crime emerged slowly.”
• “The setting sun cast a bloody hue over the scene.”
• “Artificial lights buzzed overhead, giving the room a clinical coldness.”
• “The darkness of the alley hid the crime from casual view.”
• “The stark fluorescence of the office lights laid everything bare.”

State of the Surrounding Area

The state of the surrounding area provides context to the crime scene and can hint at the lifestyle or activities of the victim or perpetrator.

Describing the condition of nearby buildings, streets, or natural elements can offer clues and set the tone for the scene, whether it’s chaotic, neglected, pristine, or ordinary.

• “The rundown buildings nearby spoke of a forgotten part of town.”
• “Pristine streets contrasted sharply with the violence of the crime.”
• “Graffiti-covered walls provided a backdrop of silent rebellion.”
• “The manicured park grounds seemed an unlikely stage for such a crime.”
• “Nearby, the normalcy of bustling city life continued, oblivious.”
• “The neglected garden hinted at the victim’s recent troubles.”
• “A once grand, now dilapidated mansion loomed over the scene.”
• “The quiet suburban street had been shattered by the night’s events.”
• “The surrounding forest offered a secluded cover for the crime.”
• “Amidst the industrial area, the crime scene was just another unnoticed event.”

Emotional Tone and Atmosphere

The emotional tone and atmosphere of a crime scene can influence the reader’s emotional response.

Describing the palpable tension, fear, grief, or shock experienced by characters or conveyed through the setting can deepen the impact of the scene.

This element is vital in creating an immersive and emotionally resonant narrative.

• “A heavy silence hung over the scene, thick with unspoken sorrow.”
• “An undercurrent of fear was palpable among the onlookers.”
• “The atmosphere was charged with the urgency of the investigation.”
• “Grief permeated the air, as tangible as the morning mist.”
• “A sense of injustice fueled the team’s determination.”
• “Shock was etched on every face, a shared experience of horror.”
• “The solemn mood was only broken by the occasional crackle of the police radio.”
• “Anger simmered below the surface, a response to the senseless violence.”
• “Despair seemed to seep from the walls, enveloping the scene.”
• “The tension was like a tightrope, each step fraught with emotional peril.”

Here is a video that will help you learn how to describe a crime scene in a story:

Examples of How to Describe a Crime Scene in Different Genres

How to describe a crime scene in one genre is not the same way you describe it in another.

Check out these examples.

In a mystery novel, the crime scene is often laden with subtle clues and red herrings, set against a backdrop of everyday normalcy that’s been shattered by the crime.

Picture a quaint English village where a beloved community member has been found dead in their well-kept garden.

The description focuses on the stark contrast between the peaceful setting and the violent act.

The vibrant flower beds, usually a source of pride for the village, were now marred by the outline of a body. Detective Smith noted the disarray of the garden tools, an unusual sight for the meticulous victim. The gentle hum of bees and the distant chatter of neighbors formed a dissonant soundtrack to the grim tableau.

As Smith knelt to examine a peculiar set of footprints leading away from the scene, he couldn’t help but feel the killer was hiding in plain sight, masked by the village’s deceptive tranquility.

In horror stories, the crime scene description often amplifies the elements of fear and shock.

Imagine a decrepit asylum where unspeakable acts have occurred.

The hallway was dimly lit, the flickering lights casting long, twisted shadows that seemed to writhe along the walls. The air was thick with the stench of decay. As the investigator moved forward, her flashlight beam fell upon a grotesque scene – remnants of what appeared to be a ritualistic killing.

Symbols drawn in blood adorned the walls, and in the center lay the victim, their expression frozen in a silent scream. The sense of an unseen presence was overwhelming, as if the walls themselves were watching, reliving the horror over and over.

In a sci-fi setting, crime scenes can incorporate futuristic technology and alien elements.

Envision a space station orbiting a distant planet, where a crew member has been mysteriously killed.

The body floated in the zero-gravity chamber, a serene yet eerie sight. Commander Zhao maneuvered through the weightlessness, her eyes taking in the high-tech surroundings – the advanced medical equipment now recording the absence of life, the holographic displays flickering with data.

She noticed a strange, crystalline substance near the victim’s wound, something not of their world. As she collected samples, the reality set in – they were not alone in this vast expanse of space, and whatever had committed this act was beyond their understanding of life and death.

Final Thoughts: How to Describe a Crime Scene in a Story

Mastering crime scene descriptions can elevate your storytelling to new heights of intrigue and suspense.

For more insights and writing tips, explore other articles on our website.

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Essay on Crime

Students are often asked to write an essay on Crime in their schools and colleges. And if you’re also looking for the same, we have created 100-word, 250-word, and 500-word essays on the topic.

Let’s take a look…

100 Words Essay on Crime

Understanding crime.

Crime refers to acts that violate the law. They are considered harmful and punishable by a governing authority. Crimes can range from theft to murder.

Types of Crimes

There are various types of crimes. Violent crimes include actions like assault, while theft falls under property crimes. White-collar crimes involve fraud or embezzlement.

Consequences of Crime

Crimes have severe consequences. They can lead to imprisonment, fines, or even death penalties. Moreover, they harm communities and individuals, causing fear and damage.

Preventing Crime

Preventing crime involves law enforcement, education, and community programs. Everyone can contribute to a safer society by obeying laws and reporting suspicious activities.

Also check:

• Paragraph on Crime
• Speech on Crime

250 Words Essay on Crime

Introduction.

Crime, a pervasive aspect of society, is an act that violates a law and is punishable by the state. It disruptively breaches societal norms, creating a sense of insecurity and fear. This essay delves into the nature of crime, its causes, and the role of law enforcement.

The Nature of Crime

Crime is a complex phenomenon, varying across cultures and societies. It ranges from minor offences like theft to severe ones like homicide. The nature of crime reflects societal values, as what is considered criminal is determined by the prevailing legal and moral code.

Causes of Crime

The causes of crime are multifaceted, involving biological, psychological, and sociological factors. Biological theories suggest genetic predispositions towards criminal behaviour. Psychological theories focus on the individual’s mental processes and their interaction with the environment. Sociological theories, on the other hand, emphasize societal structures and inequalities as major crime contributors.

Law Enforcement and Crime

Law enforcement agencies play a crucial role in maintaining order, preventing crime, and ensuring justice. They function as a deterrent, keeping potential criminals in check. However, their effectiveness is contingent upon their ability to adapt to evolving criminal tactics.

In conclusion, crime is a societal issue with deep roots in individual and social structures. Understanding its nature and causes is key to formulating effective strategies for prevention and control. As society evolves, so too must our approach to understanding and combating crime.

500 Words Essay on Crime

Crime, a social and legal concept, has been a part of human society since its inception. It refers to the actions that violate the norms and laws of a society, leading to harm or potential harm to individuals or the community. The study of crime, its causes, effects, and prevention, is a crucial aspect of sociology, psychology, and criminology.

Crime is a complex phenomenon, varying across societies and times. It is not static but evolves with societal norms and legal frameworks. What may be considered a crime in one society may not be in another, and similarly, what was a crime in the past might not be so today. For instance, homosexuality was once criminalized in many societies, but it is now widely accepted and decriminalized.

Types of Crime

Crimes are generally categorized into personal crimes, property crimes, inchoate crimes, statutory crimes, and financial crimes. Personal crimes involve direct harm or threat to an individual, such as assault or robbery. Property crimes involve interfering with another person’s property, like burglary or theft. Inchoate crimes are those that were started but not completed, while statutory crimes are violations of specific statutes. Financial crimes, such as fraud or embezzlement, involve the illegal conversion of property ownership.

The causes of crime are multifaceted, often interwoven with societal, psychological, and economic factors. Poverty, lack of education, substance abuse, and family violence are some common societal factors leading to crime. Psychological factors include personality disorders, low self-control, and aggression. Economic factors, such as unemployment or income inequality, also contribute significantly to crime rates.

Effects of Crime

Crime affects society in numerous ways, from creating fear and insecurity to damaging social cohesion. It impacts the economy by diverting resources towards law enforcement and away from other sectors. On an individual level, crime can lead to physical harm, psychological trauma, and financial loss.

Crime prevention strategies are as diverse as the causes of crime. They include social strategies, such as improving education and employment opportunities, and legal strategies, such as effective law enforcement and fair judicial systems. Psychological interventions, like counseling and therapy, can also play a significant role in crime prevention.

Understanding crime is essential to creating a safe and harmonious society. By examining its nature, types, causes, effects, and prevention, we can develop effective strategies to reduce crime rates and mitigate its impact on individuals and communities. It is a collective responsibility that requires the concerted efforts of individuals, communities, and governments.

That’s it! I hope the essay helped you.

If you’re looking for more, here are essays on other interesting topics:

• Essay on Crime Against Women
• Essay on How to Reduce Unemployment
• Essay on Conclusion for Unemployment

Apart from these, you can look at all the essays by clicking here .

Happy studying!

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Writing Nestling

How To Describe A Crime Scene In A Story (12 Best Ways)

In the enthralling realm of storytelling, the art of describing a crime scene is a literary alchemy that transforms words into an immersive tapestry of suspense, intrigue, and forensic allure.

As writers embark on the thrilling journey of unraveling mysteries, the crime scene becomes a pivotal stage, demanding meticulous attention to detail, authenticity, and a delicate balance between vivid portrayal and ethical considerations.

From the physical location that serves as the silent witness to the unfolding drama, to the delicate dance between characters’ emotional responses and the strategic use of literary devices, crafting a compelling crime scene description involves navigating a narrative labyrinth.

This guide will delve into the nuanced techniques of capturing the essence of crime scenes, exploring the elements that make them pulse with life, and offering insights into the ethical considerations and research that underpin the authenticity of these captivating tales.

Join us on this literary journey as we unlock the secrets to crafting crime scene descriptions that resonate, captivate, and leave an indelible mark on the reader’s imagination.

Table of Contents

How To Describe A Crime Scene In A Story

Describing a crime scene in a story involves carefully crafting details to evoke a vivid and engaging picture for your readers. Here’s a step-by-step process:

Establish Setting

Begin by setting the scene with general details such as location, time of day, and weather. This provides a backdrop for the unfolding events.

Introduce Initial Impressions

Describe the first impressions of the crime scene . What does someone see or notice immediately upon arrival? This might include the presence of law enforcement, onlookers, or any unusual sights or sounds.

Document Physical Surroundings

Detail the physical aspects of the crime scene, including any significant landmarks, objects, or structures. Consider the layout, lighting, and overall atmosphere.

Capture Senses

Engage the reader’s senses by describing the smells, sounds, and tactile sensations present at the crime scene. Is there a lingering odor, the hum of distant sirens, or a gritty texture in the air?

Note Victim Details

Provide specifics about the victim, if applicable. Describe their appearance, position, and any immediate indicators of cause of death or injury. Note clothing, personal belongings, and the overall condition of the body.

Document Evidence

Enumerate the evidence present at the scene. This includes any potential weapons, blood spatter patterns, fingerprints, or other forensic clues. Be precise and realistic in your descriptions.

Describe Surrounding Environment

Detail the surrounding environment, paying attention to potential clues or points of interest. This could include footprints, disturbed foliage, or unusual marks on nearby surfaces.

Highlight Emotional Atmosphere

Convey the emotional atmosphere of the crime scene. Describe the reactions of witnesses, law enforcement, and any other individuals present. This adds depth to the narrative.

Incorporate Dialogue

Integrate dialogue to bring the scene to life. Use conversations between investigators, onlookers, or other characters to reveal additional details, tensions, or perspectives.

Build Suspense or Mystery

Consider the overall tone you want to convey. If your story involves suspense or mystery, strategically reveal or withhold information to keep readers engaged and eager to learn more.

Maintain Consistency

Ensure consistency in your descriptions throughout the story. If you introduce a detail early on, make sure it aligns with subsequent developments.

Leave Room for Imagination

Allow readers to use their imagination by providing enough detail to paint a vivid picture but leaving room for interpretation. This encourages engagement and investment in the narrative.

By following these steps , you can create a compelling and immersive portrayal of a crime scene in your story.

Understanding the Elements of a Crime Scene

Delving into the labyrinth of a crime scene is akin to deciphering a cryptic narrative etched in bloodstains and whispered secrets.

Picture the canvas: an eerie dance between shadows and evidence, where the pulse of the crime echoes through the very pores of the location.

Whether clandestine whispers reverberate in a moonlit alley or the chilling silence of a desolate room envelops you, understanding the elements of a crime scene is an intricate ballet with the visceral and the tangible.

It’s not just about the macabre spectacle, but the meticulous arrangement of every piece in this tragic puzzle — the haunting location, the temporal dance, and the foreboding weather.

Each detail etches itself onto the reader’s imagination, crafting a chiaroscuro of suspense that lingers long after the last page is turned.

In the realm of storytelling, the crime scene is not just a setting; it’s a living, breathing entity that demands attention, respect, and the unravelling of its enigmatic tapestry.

Physical location

The physical location of a crime scene is the silent narrator, weaving its narrative through the very architecture and geography that cradles the unfolding drama.

Whether the clandestine rendezvous in a dimly lit alley or the chilling tableau within the sterile walls of a forgotten mansion, the choice of locale is a literary brushstroke that paints the backdrop of intrigue.

The dichotomy between an outdoor crime scene, exposed to the capricious whims of nature, and the hushed secrets concealed within the recesses of an indoor setting, sets the stage for the tale’s resonance.

The physicality of the location is not just a mere stage but an active participant, influencing the characters’ movements, casting long shadows over evidence, and whispering untold secrets through the creaking floorboards.

The crime scene’s physicality transcends mere description; it becomes an integral character in the story , shaping the narrative’s rhythm and adding depth to the unfolding mystery.

Key features

The key features of a crime scene are the cryptic signposts that beckon both investigator and reader into the heart of the enigma.

They are the silent witnesses, frozen in time, outlining the visceral aftermath of chaos. The position of the victim becomes a poignant compass, directing attention to the epicenter of tragedy.

Each meticulously placed piece of evidence narrates its own story, forming a puzzle that demands deciphering.

The surrounding environment, with its subtle nuances, plays a silent symphony, from the atmospheric lighting to the foreboding stillness.

These key features are the storytellers in this forensic odyssey, each one an inkblot on the canvas of intrigue, urging the observer to read between the lines and decode the secrets etched into the very fabric of the crime scene.

They are not just details; they are the poetic verses that breathe life into the narrative, inviting the reader to become a detective in their own right, unraveling the mysteries veiled within the crime scene’s haunting tableau.

Utilizing the Five Senses

In the realm of crime scene storytelling, invoking the five senses is akin to orchestrating a symphony of suspense that transcends the page.

It’s not merely about seeing the stark details or hearing the ominous echoes; it’s about immersing the reader in a tactile dance with the macabre.

The metallic tang of fear hangs in the air, while the forensic journey is punctuated by the haunting melody of ambient sounds—a hushed whisper, the shuffle of clandestine footsteps, or the distant wail of sirens.

The scene is not just visual; it’s a sensory tapestry where the reader can almost taste the tension, feel the weight of foreboding, and smell the lingering specter of crime.

In this narrative ballet, the crime scene isn’t just a tableau; it’s a multisensory experience that doesn’t merely unfold—it envelopes, captivates, and etches its indelible imprint on the reader’s imagination.

In the intricate choreography of crime scene storytelling, sight emerges as the virtuoso, the maestro conducting the symphony of discovery.

It transcends the mere observation of physical details; it’s a dance with the visceral and the hidden. Picture the crime scene: the stark contrast of blood against a sterile backdrop, the play of shadows whispering secrets on dimly lit walls, or the subtle nuances of a victim’s final expression etched in a frozen moment.

The investigator’s keen eyes become the lens through which the reader navigates this visual tapestry, decoding the cryptic language of clues and unfolding the narrative with each meticulously described detail.

In the dance between light and darkness, sight becomes the gateway to understanding, inviting the reader to peer beyond the surface and delve into the depths of the crime scene’s visual poetry.

Sound, in the symphony of crime scene depiction, is the haunting melody that underscores the narrative, weaving an unseen thread of tension and foreboding.

It’s not just the ambient noise that fills the air but the whispered secrets and hushed conversations, echoing through the scene like ghostly apparitions.

The investigator’s footsteps on creaking floorboards, the ominous silence broken by a distant scream, or the subtle shuffle of clandestine movements—all these auditory nuances orchestrate an immersive experience for the reader.

In the crime scene’s auditory landscape, every sound becomes a note, and the careful composition of these notes shapes the emotional resonance of the storytelling.

It’s through sound that the reader is transported into the heart of the mystery, tuned into the frequencies of fear, intrigue, and the clandestine whispers that reverberate within the walls of the unfolding drama.

Engaging Emotions and Reactions

In the gripping drama of a crime scene, emotions and reactions are the raw, unfiltered hues that paint the canvas of human experience.

Imagine the investigator’s pulse quickening as they confront the scene’s chilling tableau—the visceral shock, the whisper of fear crawling up the spine, and the profound, almost tangible, air of unease.

It’s not merely a matter of professional detachment; it’s the delicate balance between the investigator’s stoic facade and the tumult of emotions roiling beneath the surface.

Similarly, for the reader, it’s the symphony of empathy, intrigue, and a spine-tingling sense of anticipation that defines the emotional landscape.

The crime scene isn’t just a static setting; it’s a psychological crucible, where emotions and reactions blend seamlessly, immersing the reader in a narrative that transcends the page, leaving an indelible imprint on the soul.

Characters’ emotional responses

In the somber ballet of a crime scene, the characters’ emotional responses become the poignant crescendo, resonating with the profound impact of the unfolding tragedy.

As the investigator steps into the macabre tapestry, their reactions are a visceral reflection of the human psyche encountering the morose reality of crime.

It’s the sharp intake of breath, the tightening of jaw muscles, and the haunted gaze that speak volumes, transcending words on a page.

Whether it’s a seasoned detective, shrouded in a cloak of professional detachment that momentarily slips, or a witness grappling with the overwhelming weight of fear, these emotional responses breathe life into the narrative.

They forge a visceral connection between the characters and the reader, turning the crime scene into an emotional crucible where the reverberations of shock, horror, or resolve echo long after the scene has been meticulously described .

Reader’s emotional engagement

The crime scene, meticulously unfolded within the pages of a story, becomes an emotional labyrinth for the reader—an immersive experience that transcends mere observation.

As the narrative unveils the haunting tableau, the reader becomes an empathetic detective, traversing the corridors of suspense and intrigue.

It’s the quickened heartbeat as a hidden clue surfaces, the empathetic shudder at the grim aftermath, and the relentless pulse of anticipation that turns each page.

The emotional engagement is not a passive observance but an intimate dance with fear, empathy, and curiosity.

The reader, ensnared in the atmospheric web of the crime scene, becomes an active participant, feeling the tension rise, decoding the emotional nuances, and forging a profound connection with the characters entangled in the mystery.

In this delicate interplay, the crime scene is not just a setting; it’s an emotional landscape that captivates and enthralls, leaving an indelible mark on the reader’s imagination.

Balancing Detail and Pace

In the delicate art of crime scene narration, balancing detail and pace is akin to orchestrating a suspenseful dance that keeps the reader on the edge of their seat.

It’s not merely about bombarding the senses with a barrage of minutiae; it’s about selecting the exquisite brushstrokes that form the atmospheric masterpiece.

Like a skilled conductor navigating the rhythm of revelation, the writer must choreograph a ballet between the meticulous unveiling of clues and the relentless tempo of the narrative.

Too much detail, and the story risks drowning in a sea of particulars; too swift a pace, and the richness of the crime scene evaporates into a mere blur.

It’s a delicate equilibrium where each detail is a strategic note in the symphony of suspense, ensuring that the reader is both tantalized by the mystery and driven forward by the unrelenting beat of curiosity.

In this narrative tightrope walk, the crime scene transforms into a living entity, each detail and revelation harmonizing to create a resonant and captivating story.

Selecting pertinent details

In the intricate tapestry of crime scene storytelling, the art of selecting pertinent details is the craft of distillation, an alchemical process that transforms the mundane into the extraordinary.

Every detail chosen is a brushstroke on the canvas of intrigue, not just an observation but a deliberately placed clue or nuance that propels the narrative forward.

It’s the glint of a shattered glass catching the moonlight, the barely audible creak of a door that hints at clandestine movements, or the forensic precision of a single fingerprint etched in the margins of chaos.

The writer’s discerning eye must sift through the myriad possibilities, selecting details that are not only visually evocative but laden with narrative significance.

In this delicate dance, the crime scene is not merely described; it is meticulously curated, ensuring that each chosen detail resonates with the reader, adding depth to the mystery and infusing the narrative with a palpable sense of purpose and intrigue .

Maintaining story flow

Maintaining story flow within the crime scene narrative is akin to navigating a river’s current—smooth, purposeful, and with a constant sense of propulsion.

The details of the crime scene should unfold seamlessly, each revelation cascading into the next like a series of interconnected ripples.

It’s not just about describing the scene but orchestrating a symphony where the ebb and flow of details harmonize with the pacing of the overall plot.

The writer must deftly interweave crime scene descriptions with dialogue, action, and character development, ensuring that the reader is carried along effortlessly.

Too abrupt a shift can disrupt the narrative current, while excessive elaboration on minutiae can bog down the story’s momentum.

Striking the right balance allows the crime scene to become a dynamic force, propelling the reader forward with an irresistible current of anticipation and engagement, making the storytelling experience as fluid and captivating as the unfolding drama itself.

Crafting Compelling Narratives

Crafting compelling narratives within the crime scene genre is akin to wielding a literary scalpel—precise, evocative, and capable of revealing the hidden layers beneath the surface.

It’s not just about recounting the sequence of events but infusing the narrative with an atmospheric allure that captivates the reader’s imagination.

Like a master storyteller, the writer must conjure scenes that transcend the ordinary, employing similes and metaphors as brushstrokes to paint vivid mental images.

The crime scene isn’t merely a backdrop; it becomes a living entity, resonating with symbolism that enriches the storytelling tapestry.

Each word chosen is a careful note in a composition that builds suspense, and every sentence is a pathway leading deeper into the labyrinth of mystery.

In this artful dance, the crime scene ceases to be a static setting—it transforms into a dynamic force, a compelling narrative that ensnares readers in its enigmatic embrace, leaving them craving the next revelation with an insatiable hunger for resolution.

Employing literary devices

In the realm of crime scene storytelling, employing literary devices is like unlocking a secret lexicon that breathes life into the narrative.

Similes and metaphors become the artist’s palette, painting the crime scene with hues of tension and intrigue. The crime scene isn’t merely a collection of objects; it becomes a symbolic landscape where every detail carries weight and meaning.

Symbolism, like an unseen thread, weaves through the narrative, imbuing the crime scene with layers of hidden significance that beg to be unraveled.

Literary devices are the alchemy that transforms a mundane crime scene into a stage where the ordinary becomes extraordinary.

Whether it’s likening the forensic process to a delicate dance or describing the victim’s position with metaphorical resonance, these devices elevate the storytelling, turning the crime scene into a rich tapestry of language and imagination that lingers in the reader’s mind long after the last page is turned.

Establishing a unique voice

Establishing a unique voice within the crime scene narrative is akin to giving the story its own distinct heartbeat, a rhythm that resonates through every word and detail.

It’s not just about recounting events but imprinting the storytelling with a signature cadence that sets it apart from the rest.

The choice of words, the cadence of sentences, and the overall tone become the writer’s literary fingerprint on the crime scene canvas.

Whether it’s a gritty, noir-inspired atmosphere or a poetic dance of language, the voice becomes the lens through which the reader experiences the unfolding drama.

A unique voice isn’t just a stylistic choice; it’s a narrative identity that shapes the emotional timbre of the story.

In the realm of crime scene storytelling, where suspense hangs in the air like an unspoken promise, a distinctive voice is the secret ingredient that transforms the crime scene into a living, breathing entity—a world that beckons readers to lose themselves in its distinctive allure.

Ethical Considerations

In the enthralling tapestry of crime scene storytelling, ethical considerations emerge as the silent guardians of narrative integrity.

It’s not merely about the thrill of the mystery but a delicate dance along the moral precipice. Every detail, every revelation, and every description must be handled with a discerning hand, mindful of the real-world implications and the ethical responsibility to both characters and readers.

Avoiding gratuitous details, respecting the gravity of crime, and approaching the narrative with sensitivity become paramount.

It’s a tightrope walk between unveiling the intricacies of the crime scene and acknowledging the real-life impact of such events.

Ethical considerations, like a moral compass, guide the narrative, ensuring that the reader is immersed in the suspense without sacrificing the respect owed to the genuine human experiences that may mirror the fiction on the page.

In this delicate balancing act, ethical considerations become an intrinsic part of the storytelling, reminding us that even in the realms of imagination, a certain responsibility and respect for the subject matter must prevail.

Sensitivity to real-life victims

Navigating the realm of crime scene storytelling demands an unwavering sensitivity to real-life victims, acknowledging the weight of their experiences beyond the fictional narrative.

It’s more than crafting a compelling story; it’s a commitment to respecting the genuine pain and trauma that real individuals may endure.

As a storyteller, it’s crucial to tread carefully, avoiding gratuitous details that could sensationalize or exploit the suffering of those who have faced such harrowing situations.

Sensitivity becomes a guiding principle, urging writers to approach their craft with empathy and an understanding of the potential impact on readers who may have personal connections to similar events.

By fostering a narrative atmosphere that recognizes the humanity behind the fiction, sensitivity to real-life victims elevates the storytelling experience, turning it into a platform for empathy, awareness, and thoughtful reflection on the gravity of the subject matter.

Research and Accuracy

Embarking on the riveting journey of crime scene storytelling demands a meticulous commitment to research and accuracy—a literary detective’s quest for truth.

The narrative canvas must not merely reflect the surface allure of mystery but delve into the intricate details with a forensic precision.

Like a skilled investigator, the writer pores over procedural manuals, immerses themselves in the methodologies of forensic science, and unravels the intricate threads of criminal investigation.

Accuracy isn’t just a goal; it’s a sacred pact with the reader, promising a narrative authenticity that resonates with credibility.

The crime scene becomes a microcosm of meticulous research, where every detail—from the trajectory of a bullet to the nuances of forensic analysis—serves as a testament to the writer’s dedication to getting it right.

In this pursuit of truth, research becomes more than a tool; it transforms into a narrative ally, guiding the writer through the labyrinth of authenticity and ensuring that the reader doesn’t just witness a story but experiences an immersive, intellectually satisfying journey into the heart of the unknown.

Thorough investigation techniques

Embarking on the narrative expedition of crime scene storytelling requires a commitment to thorough investigation techniques—a journey into the intricate dance of fact-finding that breathes life into the fictional tableau.

The writer assumes the role of investigator, meticulously scrutinizing not only the visible details of the crime scene but also the subtle nuances that elude casual observation.

The narrative must mirror the precision of a seasoned detective, understanding forensic procedures, deciphering the language of evidence, and portraying investigative techniques with a level of authenticity that immerses the reader in a credible world.

Whether it’s exploring the art of fingerprint analysis, reconstructing crime scenes through meticulous detail, or delving into the complexities of forensic science, thorough investigation techniques serve as the narrative compass, guiding the writer through the labyrinth of authenticity and ensuring that the fictional investigation resonates with the pulse of reality.

Frequently Asked Questions about How To Describe A Crime Scene In A Story

How can i make my crime scene descriptions more engaging and immersive in a story.

To enhance engagement, focus on vivid details that appeal to the senses, such as describing sounds, smells, and textures. Introduce unique elements and use precise language to paint a clear and intriguing picture for your readers.

Should I always include graphic details when describing a crime scene, or is it better to leave some aspects to the reader’s imagination?

Striking a balance is crucial. Include enough detail to create a vivid scene, but allow room for readers to use their imagination. Sometimes, subtle and suggestive details can be more impactful than explicit descriptions.

What role does the emotional atmosphere play in crime scene descriptions, and how can I effectively convey it in my writing?

The emotional atmosphere adds depth to your narrative. Describe the reactions of characters present, including law enforcement, witnesses, and even the surroundings. Use dialogue and subtle cues to convey tension, fear, or intrigue.

Are there specific techniques to build suspense or mystery when describing a crime scene?

Absolutely. Strategically reveal information, create unanswered questions, and use pacing to build suspense. Consider withholding certain details to keep readers eager to uncover the mysteries surrounding the crime.

How do I maintain consistency in crime scene descriptions throughout my story?

Keep a detailed record of the key elements introduced in the crime scene. Reference and build upon these details as the story progresses to ensure consistency. Double-check timelines, physical evidence, and character reactions for coherence.

Can dialogue be effectively used in crime scene descriptions, and if so, how?

Dialogue is a powerful tool. Use it to reveal additional details, express character perspectives, and create tension. Realistic conversations among investigators, witnesses, or even the victim’s acquaintances can add authenticity to the scene.

Is it necessary to include the immediate surroundings of the crime scene in my descriptions?

Yes, describing the surroundings is crucial. Note any potential clues, environmental factors, or distinctive features that contribute to the overall atmosphere. The surroundings can provide context and contribute to the story’s realism.

How do I avoid clichés when describing a crime scene and make my narrative stand out?

Focus on original and unexpected details. Challenge yourself to find unique perspectives, use fresh language, and incorporate elements that defy typical crime scene conventions. Avoid overused tropes to keep your narrative fresh and engaging.

Can I create a compelling crime scene without explicitly detailing every aspect, and if so, how?

Absolutely. Provide enough information for readers to form a mental image, but don’t overwhelm with unnecessary details. Sometimes, what you choose to omit can be as powerful as what you include. Encourage readers to fill in the gaps with their imagination.

How can I effectively convey the passage of time in my crime scene descriptions, especially if the investigation unfolds over several scenes or chapters?

Use subtle cues such as changing lighting conditions, weather shifts, or the evolving state of the crime scene to convey the passage of time. Additionally, incorporate characters’ reactions and evolving emotions to reflect the investigation’s progression.

In conclusion, describing a crime scene in a story is an art that combines precision, creativity, and a deep understanding of narrative dynamics.

By following a step-by-step process, writers can weave a tapestry of details that not only captures the essence of the crime but also engages readers on a visceral level.

Striking a balance between providing enough information to paint a vivid picture and leaving room for readers’ imagination is key.

The emotional atmosphere, dialogue, and careful consideration of pacing contribute to the overall impact, allowing the crime scene to transcend mere description and become a dynamic element propelling the narrative forward.

Ultimately, creating an immersive crime scene in a story involves a careful blend of sensory elements, originality, and consistency, inviting readers to step into a world where every detail serves a purpose in unraveling the mysteries at hand.

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Hilbert College Global Online Blog

The anatomy of a crime scene: examples, investigation and analysis, written by: hilbert college   •  jun 7, 2023.

The Anatomy of a Crime Scene: Examples, Investigation and Analysis ¶

Law enforcement is trained to gather evidence and solve crimes. However, a crime scene involves many people and many steps, so everyone involved must work together to effectively process a crime scene. Understanding the anatomy of a crime scene can make or break a case.

To learn more, check out the infographic below, created by Hilbert College Global’s online Bachelor of Science in Criminal Justice.

What Is a Crime Scene? ¶

A crime scene describes the location where a crime takes place. It can also include where evidence is found or where a suspect lives.              

Robberies ¶

A robbery is a theft that involves violence or the threat of violence. Robbery crime scenes may include, convenience stores, commercial establishments, banks, private residences, parking lots or the streets. Basically, it’s anywhere a person was robbed.

Homicides ¶

A homicide is a murder committed intentionally or during the commission of another crime. Homicide crime scenes may include where a victim was killed and where the body was found. It may also include where a murder was planned or where the murder weapon was discarded.

Secondary Locations ¶

A secondary location is a site important to identifying and prosecuting a suspect. Secondary locations may include the paths a suspect traveled during the commission of a crime, where a second crime was committed, or a location where suspects convened before or after a crime. These crime scenes may be found after the initial crime is discovered.

An assault is the intentional harming of another person physically. Assault crime scenes may include a residence, highways and sidewalks, parking garages and lots, convenience stores or hotels and motels. An assault may happen anywhere, so crime scenes can vary.

Digital Crime Scenes ¶

Some crimes are committed online or through invasive malware. For cybercrimes, investigators go through victims’ digital devices to find evidence. Suspects’ computers and mobile devices are also considered crime scenes.

Who’s on the Scene? ¶

• Investigators interview witnesses and gather information from law enforcement on the scene. They also manage information given to the press.
• Crime scene technicians identify physical evidence at the scene. They also photograph crime scenes so  law enforcement and lawyers can see the original scene. Once they’ve finished at the crime scene, they write final reports of their findings.
• Police officers are often first at the scene and alert necessary law enforcement. They protect the crime scene by cordoning it off. They will also keep witnesses so the Investigator can interview them.
• Medical examiners and coroners examine victims’ bodies and in the morgue. They also collect physical evidence from victims. Once they’ve analyzed the scene, they will provide law enforcement with information.

How Long Is It a Crime Scene? ¶

A crime scene isn’t considered cleared until the investigative team has gathered all possible evidence and information. This may take between one and two days. If a crime takes place over multiple locations, it may take longer to process each crime scene and clear them all. 

What Happens at a Crime Scene? ¶

At the crime scene, law enforcement dispatches a crime scene detail to process the scene through:

Evidence Gathering ¶

Evidence can prove motive, opportunity, intent, planning and identity. A perimeter must be established to keep the crime scene from being compromised. Law enforcement searches the scene for physical evidence and any clues about the subject. 

Technicians photograph blood evidence, victims’ wounds, surrounding areas and physical evidence before being bagged. The scene is sketched with measurements. Everything is put into evidence bags, labeled and sent to the appropriate authorities.

Witness Questioning ¶

Law enforcement establishes witnesses and obtains valid identification. Then, they separate each witness and record their name, birthday, address and all phone numbers. Finally, witnesses are interviewed individually on scene or at the office location.

Investigation ¶

The U.S. Agency for International Development (USAID) lists the steps of a well-planned investigation as:

• First responders notify correct personnel.
• The prosecutor, the forensic doctor and scientific/technical assistance are assigned to the case.
• Parties arrive at the crime scene.
• Cordon off the crime scene.
• Determine the proper procedures and apply.
• Keep the location secure.
• Medical personnel takes responsibility for the scene.
• Decide what information the media will receive.
• Interview witnesses.
• Disperse uninvolved bystanders.
• Record the crime scene.
• Notify involved civilians.
• Take statements and gather information.

Processing ¶

USAID lists the most important steps while processing a scene as follows:

• Determine where to search for evidence and suspects.
• Describe the immediate setting as evidence.
• Properly gather and remove evidence.
• Identify, label and tag evidence.
• Establish the chain of custody from the scene.
• Analyze the evidence for information.
• Preserve the evidence for trial.
• Use available information to interpret the crime scene. 

What Happens Next? ¶

Once all possible information has been gathered from a crime scene, investigators and attorneys build a case to either convict or exonerate a suspect.

Forensic Analysis ¶

Forensic analysts examine the crime scene evidence. Whether the evidence is physical or digital, forensic analysts extract information and provide it to the defense and prosecution. Forensic analysts may also serve as expert witnesses.

Identifying Suspects ¶

Through examining the crime scene and data provided by forensic analysts, investigators assemble a list of suspects. Investigators interview possible suspects and reinterview witnesses. When suspects are identified, they may be brought in for questioning or arrested.

Preparing for Court ¶

Investigators turn over their findings to prosecutors and defense lawyers. The lawyers may return to the crime scene to better understand the crime. Suspects work with the defense to prove their innocence. Both parties gather expert witnesses to strengthen their cases.

Presenting the Case ¶

During trial, witnesses take the stand to explain what they saw. Lawyers reconstruct the crime scene to either prove or disprove a defendant’s guilt. Evidence gathered at the crime scene is presented to the judge and jury.

Analysis of a Crime Scene ¶

Every crime leaves evidence behind, and law enforcement is trained to identify it. At the crime scene, technicians, officers and investigators gather all available evidence and do their best to find a suspect. Many steps and different professionals are involved, and they all must understand their roles and how crime scenes function.

Britannica, Homicide

Encyclopedia.com, Crime Scene Investigation

Federal Bureau of Investigation, Trend of Violent Crime from 2011 to 2021

Find Law, Robbery Overview

My Law Questions, “What Is A Crime Scene?

National Institute of Justice, Digital Evidence and Forensics

NOLO, “Assault, Battery, and Aggravated Assault” United States Attorney General, Homicide Scene Investigation: A Manual for Public Prosecutors

United States Attorney General, Homicide Scene Investigation: A Manual for Public Prosecutors

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10 Tips on How to Write Believable Crime and Murder Scenes

We’re starting a fun series covering a number of weeks featuring guest posts from professionals who work in medical, police investigation, and legal arenas in order to help writers get “real” in their fiction. Take a peek inside their worlds and ask questions!

Today’s guest post is from Garry Rodgers, who spent years working as a homicide investigator and fornesics coroner and has a lot of great advice for writers who plan to write about crime scenes.

I’ve been around the criminal investigation world for three decades—first as a homicide detective, then as a forensic coroner. I was also the trigger-man on Emergency Response or SWAT Teams and now, in “retirement,” I’m reinventing myself as a crime fiction writer. So I’ve got hands-on experience in life, death, and writing.

I’m also a voracious reader. Not just technical, forensic, and legal stuff but lots of crime fiction. I’m fortunate for on-the-street and in-the-morgue background to draw from, though it’s a curse when I read stuff that I know is improbable or just plain baloney.

I’m not here to knock other writers. Quite the contrary, I want to help fellow crime-fiction writers through my real-life experiences. And I’d like to assure aspiring writers that you don’t need to be an old cop or forensics wizard to write electrifying crime stories. I’ll bet that 99% of the best-selling crime writers never saw a dead body, let alone smelled one. But that doesn’t matter. The best don’t necessarily write what they know . . .  but they all check what they write .

So I’ve compiled my top ten tips on writing believable crime stories.

1. Understand the mechanism of death .

Every human dies because the central nervous system gets unplugged. This happens in many ways, but primarily either the cardiopulmonary system stops, which tells the brain to shut down, or the brain stops, which tells the heart and lungs to give up.

In reality, this is harder to accomplish than it sounds, and it’s human nature not to check out without a fight. So people are actually hard to kill. A bullet to the head is effective, but stabbings, for instance, are time-consuming, difficult, and messy. Poisons are slow, strangling is tough, and folks just don’t stand there while being axed. So when you write the “perfect murder scene,” think about how realistically you kill your victim.

2. Understand time of death.

I’ve read (and seen on the screen) moments in which the coroner/pathologist declares the victim dead at a specific time, such as 10:05 pm. Uh . . . no—not unless someone was there with a stopwatch. Many mortis factors are considered when estimating time of death. Temperature is the biggie, followed by body mass.

A dead body will naturally adjust temperature (algor) to achieve equilibrium with its surroundings and will display time-telling factors, such as muscle stiffening (rigor), blood settling (livor), color (palor), and tissue breakdown (decomp). The presence of toxins also effects body changes. Cocaine amplifies the mortis process, while carbon monoxide retards it. Be careful in getting your forensic guru to commit on specific time.

3. Understand scene access.

Crime scenes are tightly secured. Absolutely no one goes in unless they’re necessary, and then they’ll wear complete personal protective equipment (PPE) to avoid contaminating the scene or themselves. This business of a gumshoe detective in a trench coat, smoking a cigar and leaning over the body, doesn’t happen. Neither does a fifteen-year-old sleuth tagging along to help solve the case.

4. Get the terminology right.

I see writers get basic terms wrong, and it’s the little mistakes that seriously affect credibility. For example, calling a 9mm pistol a “revolver” or saying the body was “prone” on its back on the floor. So much is available through Internet searches or, better yet, having beta readers pick up on errors. Remember: check what you write .

5. Crime-lab results are not so quick.

Processing crime scene evidence is a cumbersome, frustrating, and time-consuming event. First of all, yours is not the only case the lab has, and it will sit in queue to get developed. You’ll probably get bumped to the back of the bus by more urgent files and it could be months before your DNA profile comes in. And, no, a phone call from the scene to your buddy in the lab is not going to speed things up. He’d probably get canned for playing favorites.

6. Don’t get creative with investigational aids.

Most writers fail to consider the multitude of resources used in criminal investigations. DNA is today’s darling, followed by AFIS (the Automated Fingerprint Identification System). Don’t just write in the usual things like forensic autopsies, toxicology, ballistic matching, and document examination. Expand your story by using informants, wiretaps, room bugs and wires, polygraphs, undercover operators, police agents, hypnosis memory enhancement, psychological profiling, computer analyzing, satellite surveillance, and one that’s a real bugger—entomology. Stay away from using psychics, though. I’ve never heard of a case in which psychic information was anything other than a wild goose chase. I think psychics are as toxic to a believable story as a “dream” ending.

7. Use the five senses.

The best page-turners happen when you connect with your reader’s senses: sight, sound, smell, taste, and touch. This seems to be the key to pulling off the show-over-tell thing. I keep a little sticky note on the bottom of my screen to remind me to make the most of the senses in each scene—it sure helps in editing.

Smell is the strongest link to emotional connection. It’s one thing to see gruesome photos of a gut-shot corpse, but once you’ve actually whiffed a maggot-crawling, gassing-off decomp, you’ll never forget it. Try writing out that sock-puking stench. Show the detective dumpstering his $500 leather jacket because the putrefaction permeated the calf-skin pores, and dry cleaning it just made it stink worse. True story—happened to me.

8. Craft believable dialog.

Be honest. Cops and crooks swear like sailors, and that’s the reality of the crime world. And some of the most foul-mouthed friends I have are females. One lady pathologist used to slip in some beauts while dictating and dissecting. Fortunately, her assistant was a good editor and covered her butt in reports.

There’s a balance, though. If every fourth word is four letters, it’ll get a little overpowering, but none at all is unrealistic. I read a prominent crime writer’s best seller on a recommendation. I picked up right away that something wasn’t quite right. Then I came to the part where a character had to use profanity—no way around it to be true to the character—and the author wrote it as ‘F@#*!’. I quit reading and I’m sure others did too.

9. Create compelling characters.

Something that’s as true as the fact that you’re going to flush the toilet before bedtime—the best cops and crooks have vibrant personalities. And they’re not entirely good or bad either. One of the Hell’s Angels I know should be a stand-up comedian, and a fellow coroner, who looks like frump-woman, is like travelling with Yoda. She has a terrible drinking problem, though, and sleeps with her incontinent ferret.

10. Understand the science of story.

I can’t stress this enough. There’s every much a science behind storytelling as there is in doing autopsies. Why readers stay up—and can’t put  novel down—is that writers work words that release endorphins in the reader’s brain. One book that all writers, not just crime-writers, MUST read is Wired for Story by Lisa Cron. I promise you’ll never look at storytelling the same.

11. Bonus tip:

This gem is from Joseph Wambaugh. He’s the ex-LAPD guy who wrote The Choir Boys, The New Centurions, and The Onion Field, and invented the character Roscoe Rules, whom every cop loves . Wambaugh said, “The best crime stories are not about how cops work on cases. They’re about how cases work on cops.”

I hope these tips help you to be authentic in your “crime scenes.”

What bits have you seen on TV shows or movies, or have read in novels, that seem inaccurate or unbelievable to you? Got any specific questions?

Garry Rodgers is a retired Royal Canadian Mounted Police homicide detective and forensic coroner. He also served as a sniper on British SAS-trained Emergency Response or SWAT teams and is a recognized firearms expert. He’s now an Amazon top ten10 best-selling crime writer and blogger.

Feature Photo Credit: projectexploration via Compfight cc

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81 Comments

How fun! I don’t currently write mystery fiction, or any fiction at all. My primary skill set is in nonfiction. But I am moving quickly back toward fiction, and hopefully back toward mystery fiction in the future, with a much deeper understanding than I had the first time I wrote something in that field.

Hi Angie & thanks for commenting. I’ve written mostly non-fiction over the years – investigation and forensic reports, legal documents, and research articles. It was a really big learning curve when I set out to write my first novel and I know I’ll never stop learning. Hopefully you and others get some good from these tips.

Top-rate advice, Garry; thanks. I’m familiar with most of your suggestions, especially about attention to research and getting the details right, but what really caught my attention was point #10. I take free online courses for entertainment, and psychology and brain science is my favorite topic. I’ll be ordering the book you named, just for my own endorphin rush. If it helps my writing, so much the better.

Compliment appreciated, Curtis. ‘Wired For Story’ will change the way you look at storytelling. I highly recommend all writers, fiction & non-fiction read this book by Lisa Cron. Here’s a link to her YouTube TED Talk:

https://www.youtube.com/watch?v=74uv0mJS0uM

Excellent post. A couple of other things: Crime Scene Investigators don’t solve cases in the field. They are scientists and work in a lab on dozens of cases at time. Leave them in the lab. Second, be sure to get technical facts right. I was lost in the middle of a mystery novel when the main character ‘clicked the gun’s safety off’. Fine, but the gun was a Glock. No safety.

I try to remember that readers are smarter than writers and one gaffe can ruin the reader’s experience and damage their trust in the author.

By the way, I had to check to see how the word ‘gaffe’ was spelled. Do your research!

Good point about the CSI people. In my jurisdiction. British Columbia, Canada, we use a cooperative role between the police Forensic Identification Section (FIS) and the coroner service. The coroners have investigative field agents who visit the scenes along with the “Ident” members and examine the bodies. Depending on the seriousness, these same investigators maintain continuity of the body all the way through to the morgue & autopsy.

Hey – you had me going with the ‘gaffe’ word. I thought I had used it & misspelled it so I went back through the post looking to see how I screwed up. Check what you write 🙂

I mean I had to check my own work. I used the word gaffe. Sorry for not being clear.

So nice to see you here, Garry! Kate Becket on Castle recently said she was putting an APB out for a suspect. What is this the 1980’s? It’s a BOLO! Why the writers didn’t catch it is beyond me. Excellent post as usual, my friend. Sharing widely!

Imagine seeing you here, Sue 🙂 OK, I admit it. I had to Google ‘Kate Becket Castle’ (I rarely watch the CSI / cop shows since Hill Street Blues finished up). We never used APP & BOLO is more of a US term. 10-40 is the radio code.

And here’s another dose of reality for crime writers. Very, very few detectives look as good as Stana Katic 🙂

Well, few women are as attractive as she is! I love watching Castle, but I wonder just how realistic the show is. However, I don’t watch for the realism but to see Nathan Fillion do his thang (loved Firefly!).

I had to Google Nathan Fillion, too. Looks like I have to get out of my Canadian igloo more often.

Totally agree with you, CS. I love Castle being Castle. It’s the best part of the show. Garry, for no other reason, watch it for the laughs. I think, like most writers, you’ll get a kick out of it.

I know who to follow. *wink* This is one of my favorite blogs!

Hi, Garry, Thanks for the link to the Ted Talk by Lisa Cron. It was a very powerful message indeed. I also appreciated your top 10 tips on writing believable crime stories. For someone who knows that the devil is in the details and can spend far too much time trying to get her facts right, can I play devil’s advocate and suggest that while accurate details help to form a story, create atmosphere, transport us to a different place and time, that a writer has to know when to stop being a stickler for detail; that 90% of your readership will not know that a 9mm pistol should not be referred to as a revolver and that in terms of passing on the essence of your story, knowing that a gun was used to commit the crime is as much as most of us need to know to ‘get’ the message from the story. Rightly or wrongly, I do sometimes have to mentally stop myself from chasing down some minor details in the pathological need to ‘get it right’, reminding myself that it is ‘only’ a novel (don’t scream!) and ‘so what’ if I get it wrong, no one will get hurt in the process. I guess what I am talking about is knowing how to strike a balance, when to know which details are important to conveying the message and which are less so. To use Lisa’s example of the dangers of eating red berries, I’m sure that details such as size and color of berries, where they grow are more important than say the fact that the Neanderthal who ate the berries and died wore a wooly mammoth skin verses a generic ‘animal skin’. Would love to hear your feedback on when/if there is such a things as too much detail.

And Brian, I do appreciate your comment, that ‘some’ readers will have the knowledge to know that a Glock does not have a safety, but the vast majority of us wont. Again, it comes back to how sloppy the writer is considered to be because, yes, gone are the days when a writer could ‘create’ their own history and facts deliver a story full of action and inaccuracies and expect the reader to accept them, as opposed to one where the author makes a slip here and there. I would hate to think that one gaffe would break a line of trust, for we are only human after all (isn’t that an interesting saying??). Is it better then to use the generic term ‘gun’ rather than Glock, to steer clear of muddy waters?

You make a great point, Karen. There is a limit to getting the minute details correct. At some point you have to do the best you can, ship it, and get on to the next work.

I’m obviously anal about the correctness of evidence given my background and I agree that most readers wouldn’t have caught Brian’s remark about the Glock safety – I had to do a double take because I’ve never owned a Glock but he’s right about most readers being smarter than a lot of writers take them for. I’d say that they more detailed you write, the more time you have to spend checking the facts and that can be hugely time consuming.

I guess it ‘comes down to letting small errors slide and watching for something as big as calling the red berries ‘blueberries’. That could be fatal.

Hi Garry, Thank you for the article it has made me think about the crime novel I am busy writing. Being authentic is so important. Writing is hard work. It requires a lot of research and I appreciate the advice you have provided in your article. My uncle was a police reservist for the SAP and I am a biometrics officer I hope that this will help me to create authentic stories.

Susanne has been very encouraging and I hope my novel will turn out to be a page turner! Thank you.

I hope these tips help, Angela. Susanne is a wealth of knowledge and experience. I’m looking forward to reading her newest craft book “The 12 Key Pillars of Novel Construction”. It’s available on Amazon at

http://www.amazon.com/Key-Pillars-Novel-Construction-Blueprint/dp/0991389476/ref=asap_bc?ie=UTF8

Best wishes for your work.

Thanks for mentioning my book (and the workbook is out too!). Now, you really don’t know who Nathan Fillion is? You’ve never seen Firefly? I highly recommend it for some great plots, characters, and dialog!

I feel like a cave-dweller being exposed. I had to Google Firefly, too. My TV time is limited to the news, NFL, American Idol, and Big Bang Theory. God, I love BBT – talk about great writing & characters.

Well, there’s your problem right there: watching American Idol and the NFL. Sheesh!

Thanks for the post, Garry. I learned so much in that short list. I’ve written one crime novel and had to interview quite a few people to get my facts straight but still wonder if I did a very realistic job of it. I think it’s challenging for a writer to tackle something that requires a lot of research to be accurate on so many levels. But it’s great to have help from pros like you, websites, and agencies willing to answer questions.

Love doing these posts, Susanne. Thanks for the opportunity & exposure. Looking forward to reading other in this series.

I guess I write what I know… it’s my comfort zone. I can’t imagine me trying to write romance or God forbid, erotica. I’d probably turn out something like ’50 Shades Of Guts’ 😉

Thank you Garry, for such an inspiring post, and I loved the Lisa Cron video. I am working on my first novel and I am plotting a murder, but the body will not be discovered for thirty years. Yes, this is a very cold case! Since it is set in Nevada, the body will be found in an old mine shaft. My question is: Would it still be possible to test for DNA on remains that old? How could what is discovered link back to a suspect in the present? Thanks for your help. 🙂

I’m thrilled that you found the information helpful, Rebecca. And I think Lisa Cron’s science is bang-on.

Now you’ve got a interesting concept going on here. I’d think that a body left in a Nevada mine shaft for 30 years might be pretty well preserved. The temperature would be pretty cool & uniform which would seriously effect the rate and method of decomp. So much then would depend on the relative humidity. If it were high – say over 30% then the body would be intact but skeletolized. If the RH were very low, say 5-10%, then it would be mummified.

Regardless of skeleton or mummy, there would be lots to work from in DNA. Teeth are the best source of historic DNA material – being extracted from the pulp. Also, the bone marrow would likely be present, so there’s going to be a whack of DNA available.

30 years later it would be unlikely that the subject’s DNA standard would be kicking around to compare, but that’s where the relatives come in. Once the investigators have a name, then they’d look to the maternal upline for mitochondrial DNA from the mother or other female relations. Failing that, the subject’s children (if any) would be matched.

Something to keep in mind in criminal investigations is that there are only 4 ways of getting caught.

1. The suspect leaves something behind that incriminates them. 2. The suspect takes something away. 3. Someone is a witness and identifies the suspect. 4. The suspect confesses.

Here’s a link to a popular post I did called ‘How To Get Away With Murder’.

http://dyingwords.net/murder/#sthash.DigQIsqH.dpbs

I’ll leave it up to your imagination 🙂

Hi I have bookmarked. One question cost of consultancy advice?

There’s no cost, vivienne. I do this to give back to the writing community. If you have any questions about crime scenes, autopsies, bodies, firearms, just send me an email at [email protected]

I’m guessing you don’t want attached the bodies or firearms though…

Firearms are fine – lots of room left in my collection, but the backyard is full-up with bodies 🙂

This is a really interesting article. I was critiquing a novel someone had written about a gun crime that took place, and I realised then how little I knew about police procedure after an incident like that. You don’t realise what you don’t know until you try and write about it.

Hi Elise. I’m with you on realizing what I don’t know so I’m not going to try writing vampires, wizards, erotica, or politics.

I don’t often comment on blogs, partly because so many are alike and give the same or similar messages about writing. But this one? Totally different! A brilliant exposition of the things to look for and avoid. I’m a little bit fortunate having spent years in criminal jury trials but even then, techniques and scientific approaches change. Many thanks Garry, much appreciated.

Mark, I’m really touched by your comment. Thank you so much!

I took a look at your website and a bit of your work and I see that we’ve walked a common line. For reader’s info, Mark McGinn is a Christchurch, New Zealand crime-writer who comes from a legal background. Here’s a look at Mark’s work:

http://www.mcginncrime.com/

Your look at crime from a courtroom perspective enthrals me, Mark. I’ve focussed my writing from a blood & guts POV, but there’s a fascinating angle to the crime/legal genre from your expertise. Courtroom dramas are as riveting as crime scene stuff. They take it to a higher psychological level.

As a cop on the stand, I watched jury member’s eyes and then watched them again as a coroner holding inquests. I’d die to be a fly on the wall in a jury room.

Det. Rodgers, you’ve justified why I find “The First 48” more compelling than “NCIS.” My parents are big fans of the latter, and yes, I’ve watched it, too. But I have to laugh at the rapid pace in which the “investigators” find information, sort through forensics and DNA, and then nab the perpetrator. I understand the reality of forensic testing and analysis, as well as the difficulty interviewing suspects and witnesses. Even though I don’t write crime fiction, every scribe of that genre should keep this list of tips within reach. They’ll prove invaluable.

Thanks for the reality check, Alejandro. Crime scene investigation is a slow, methodical process that has only one chance to get it right – but has years after to rip it apart in courtroom second-guessing.

I am a HUGE fan of crime fiction, and am hopelessly addicted to learning the technique. It is an EXTREMELY difficult genre to pull off. I agree with P D James, who said that a good crime novel should also be a good novel.” Thanks for the advice!

Hi Deborah,

PD James was one of the masters of storytelling, not just crime writing. I’ve never tried writing anything outside of the crime genre so I have no idea how difficult things like YA, Romance, or especially erotica would be. I’m sure they have their idiosyncrasies.

Great post. It drives me crazy that many critiquers will tell me things like ‘you have the lead detective going into the crime scene. But they can’t do that until the CSIs process the scene and check for DNA and fingerprints. Then the CSI will give the detective permission to enter.’ (Not outside CSI-New York, my friend.)

One thing I would point out is that the pointers are correct from a modern standpoint. I had had people say ‘you forgot to have your detective put on plastic booties before they entered.’ My books are set in the early 1980’s. AIDS was first identified in the US in 1981 and the concept of blood-borne pathogens wasn’t understood outside some in the medical community for a while after that. In the 1980’s, detectives often wore latex gloves, but more to keep from touching decomp or cooties. Blood wasn’t considered a danger. I think we started using booties about 1992.

Thanks for the comment & compliment, Mike.

You bang-on about the lead detective role. Any crime scene that I’ve been to, the lead investigator takes control and directs who’s doing what, who’s coming & going, and who collects evidence. That’s why they’re the lead. Somebody has to be in charge and it’s not Forensics anywhere I’ve been.

You’re also right about PPE. I started in the business back in 1978, long before we heard about bb pathogens. I used to carry a couple pairs of rubber dishwashing gloves in my briefcase for the really messy stuff and once I had to crawl inside an airplane wreckage that had been down for eleven days in the summer before being found. There were six bodies inside in advancing state of decomp that had to be pulled out through disarticulation. My PPE was a pair of mechanics coveralls and an army gas mask with Vics Vapo-Rub in the filter. The smell of Vics still makes me want to puke. Today we’d wear a full biohazard suit with a power-vented E-Z Breathe hood.

I’m definitely not saying the good ol’ days were better but when writers set their scenes they should do it with accuracy for the time and location. Good points, Mike!

Eww!! TMI! Let’s keep this blog site clean shall we! Lol. All I know after reading all this technical info, is as you said, Garry, if you are going to write in detail, stick to what you know. Otherwise, keep to generals and hope you stay out of trouble. I do have an investigation as part of my second novel, but other than letting readers know that there is one going on, I am not delving into the details and I am now very glad I made that decision.

You shouldn’t watch Fringe then, Karen! Great show but gory!

Talking about gory, avoid watching the church scene in the movie Kingsman. They have redefined the word gratuitous violence! I have heard the the TV show The WIRE is very good for character development. Difficult to run down up here in Canada though unless you do the online streaming thing but we have something called Crave, a Netflix look alike, which I think does carry it. Will stay clear of Fringe though. Thanks for the tip. Lol

Garry, It’s so nice to find someone in Canada who writes mystery or detective novels. I just started mine and it’s based in Saskatchewan and find that watching crime shows on TV is not necessarily a good thing when police forces work differently in different countries. Luckily I have a cousin in the RCMP whom I hope will help with procedure. This is very different from my usual writing, but I love to push the envelope! marilyn

Hi Marilyn. Hopefully some of these tips will help you and don’t worry about the TV shows. They do get a fair amount right – it’s just that they’re pressed for time so they shorten things up.

I’m curious about your setting in Sask. Which part?

Wonderful post followed by excellent discussion. I’d like to add that when I had questions about a gun fight, I querried the members of the crime writers group on Linked-In and got wonderfully helpful responses. Most writers are very generous with their knowledge. Second point. Novels should be careful not to imitate tv crime shows where the protagonist finds the telling piece of evidence right away. Garry can correct me if I’m wrong, but solving most crimes is like putting together a jig-saw puzzle. A lot of pieces need to fall in place before the picture becomes clear.

You’re 100% right about investigations being like putting a jigsaw puzzle together, Peter. It’s all about the collection of information and how they form the picture of what went down.

Something that most civilians probably don’t know is that the first 24-48 hours after a crime is committed is the most valuable time in an investigation. As soon as the scene is secured and the basic details are correlated, the investigation team will hold a ‘Blitz’ where everyone assembles and throws out ideas. This is a no-rank affair where everyone’s ideas, no matter how far out, are valued. I remember one Blitz where I looked around the room and counted over 300 years of combined police service. One of the junior members came out with a suggestion that led to solving the case. So you never know unless you listen.

One other thing – once a crime is solved and a person has been charged, it’s vitally important to anticipate and investigate all defences that an accused person may raise as well as eliminate all other outstanding suspects. Lawyers, like readers and writers, love red herrings.

I was involved in a case, a quite famous murder, that was run completely the opposite to how you describe. There was no ideas blitz, the only opinion that received any consideration was that of the senior detective in charge of the case. On Day One, several of us on the specialist search team (all uniform branch officers) had previously been working on a case with distinct similarities in another area of London. This was pointed out but dismissed out of hand. The chief investigators favourite suspect was arrested, tried and acquitted, with a multi-million pound law suit following on. Ten years later the suspect for the previous murder we had highlighted on the first day of the murder enquiry was convicted of it on DNA evidence.

It would be worth a book in itself but British officers are gagged for twenty years by the Official Secrets Act.

I took a MOOC on Forensic Psych and they set up a hypothetical daylight robbery/kidnapping, fully enacted and filmed. Two investigators were assigned, and one of them was methodical and followed the best procedure while the other had a preconceived perp he wanted to bust. He cherry-picked information and led the witnesses in questioning. Lousy procedure.

The course is coming up again:

https://www.futurelearn.com/courses/forensic-psychology

and they have another, that I haven’t taken:

https://www.futurelearn.com/courses/forensic-crim-justice

Interesting stuff; the one I took covered a lot of the problems with human perception and how it makes witnesses unreliable, and they have you experience it for yourself with perceptual tests.

You can never know too much.

Peter, I would add one thing. Sometimes you DO find the telling piece of evidence right away, the thing that will make the entire case. But you don’t often KNOW that it’s the telling piece, or even significant. Sometimes, you have the key right in your hand (or in the evidence room) and you don’t realize it until some other pieces put it in perspective.

Excellent observation Mike. That gives authors another path to portray how our protagonists discover what they need to know to solve cases.

To what extent do the rest of you match your protagonist’s personality with the discovery process. In other words, if you character is a Sherlock Holmes type, does he always see it right away? If your character is a beginner and unsure of himself, does he find it fast, but not trust his instinct? Do you go with type or against? So many options!

There are definitely excellent points here but I will admit the hardest issue I have involves the use of foul language. The crime fiction books I’ve written in the past, though, are typically of a Christian-fiction nature. I suppose I can get away without using swear words in such a genre as to write the words would offend most of the audience. Thoughts?

Norma, it is an interesting dilemma because you really can’t predict reader reaction. I once had a woman email me on behalf of her book group. She said that, while the group liked my book generally, they couldn’t recommend it to their friends because the antagonist used the ‘F-word.’ I would have been a little more concerned had not the antagonist committed murder by laying his victim open from shoulder to hip. So apparently, a woman being eviscerated didn’t bother them, but the ‘F-word’ did.

While there is no need to gratuitously pepper the language, you have to stay true to the character. You can probably get away without using swear words at all, but you may be cutting off one avenue that defines the character. But everyone uses explicatives on occasion and the fact is, murders, rapists and robbers don’t normally say things like “Shucky darns” and “Golly gee whillikers.”

Mike is right about staying true to your character. If you’re going to write realistic crime-fiction, then your dialogue has to reflect an accurate portrayal of how that person would act. Every writer is in control of their own work but I think that by leaving out all swearing, the end-product would suffer. I also think that if a writer can’t handle the four letter language, then the crime genre isn’t suited for them.

Here’s a quote from Stephen King “If you intend on writing as honestly as you can, then your days as a member of polite society are numbered.”

I have attended more crime scenes than I can remember and finger-tipped some horrific murder scenes over thirty years. It is not the description of the scene that is the problem it is the ever evolving protocols and procedures due to new technology or ‘stated cases’ in court. I retired in 2011 and I think my knowledge became time-expired within six months and even then it was limited to the way things are done in just one country.

As for a member of the public/PI telephoning his favourite cop to ‘run some plates’ (He was a devil, that Rockford guy) Sgt Becker would be doing a two year stretch for data protection offences and corruption in office.

TV has a lot to answer for.

Thank you very much for taking the time to share your knowledge, sir.

Great post Gary, I only wish you had written it this time last year when I was writing my first book! Not too late though, I’m sure it will be helpful as I squelch my way through the second one. I think I have got most of your points down, but I am going to make my current D a bit more cautious about contaminating the scene. The swearing thing is a bit of a bugger isn’t it 🙂 I only slipped the occasional swearword into my first story for character credibility. I have been avoiding foul language altogether in the second one — but maybe I shouldn’t be so tight about it. I know teens and grandparents read my books, but as you point out, shouldn’t they be more traumatised by the violence than the language? Seems a bit kooky.

There is nothing stopping you producing an abridged edition Greg, however I would not do so again on Amazon. They are incapable of correctly linking titles despite ISBNs so it is a coin toss as to which version is delivered to your reader. I withdrew all of my abridged and the large print versions after many complaints.

Hi Greg, Thanks for your comment.

My feeling about coarse language is that you have to write to suit the genre. The nature of cops & crooks is that they continually use foul language and that’s the reality of it. Of course you can go overboard but to leave all 4-Letter words out just for the chance that it might offend someone will, in my opinion, diminish the effectiveness of the story – certainly from the subconscious effect of realism.

I know what you mean about teens & grandparents – I was once caught in a dilemma where my character had to use the C-Word. I struggled with ‘What would my mother think?’ but I made the decision to stick to my character and, in that situation, there was no other response that character would make.

I have to say that my writing is peppered with 4-Letters because that’s what my true voice is like (I promised Susanne that I’d keep it clean here 🙂 and in all the critiques I’ve had of my writing – good, bad & otherwise, I’ve never had anyone comment that they thought the language was too foul. Also, the demographic of my readers is about 75% middle-aged women.

So, I’d say that you have to go with what you’re comfortable with and stay true to your style. I don’t know if you read Stephen King but he can get really crude. He’s probably offended a lot of people but he’s made a @#$%-load of money off of others.

Greg Read my 3/10 post above about violence v. language.

Thank you for this great article. I’m working on my second book, but first crime fiction. I have been doing research but still have doubts. Any help is welcome.

Thank you for the great article. I’m working on my second book, but first crime fiction. I did a lot of reached but still have doubts.

Very interesting, but can not agree with all of it. Columbo leans over body, smoking etc but very popular, made writer a fortune. Patterson’s characters the same, and as for Lee Childs Jack Reacher does things that are impossible. They are all very, very popular. As long as the story is good you do not need to be correct. One comment said that a “Glock has no safety” but who cares 99.9% of readers have never seen a real gun so why worry.

All good points and adequately made. Many readers require entertainment rather than up to date realism.

In Columbo’s time the majority of serious crimes were solved by continually kicking in the doors of known villains every 4am until someone told you who you were looking for (no honour among thieves, etc).

Crime Scene, cold, wet, no toilet available and certainly none of the coffee shops nearby that TV shows seems to have.

Murder Enquiry, interesting but certainly not exciting and rarely complete in thirty minutes. The enquiry is based in an old and grubby Victorian era building with no heating in the winter and no A/C in the summer. No flashy IT, hot female detectives, or male ones either for that matter, no leads thrown up in the first 5 minutes by a hot/quirky/super intelligent Scene’s of Crime Officer either.

No surprise that many prefer their novels to mirror the TV version BUT you can still provide a level of realism that both the CSI fan and the discerning thinker can enjoy.

Yes, I agree, you can have realism and a good story. That is what I try for. I think that is best, but it does not alway’s produce good book sales.

Stephen, if you’re writing a crime novel, your target audience probably has a very high percentage of readers who are sticklers for correct detail. Fans of other genres may not know or care, but why risk being shredded when you can get things right?

Besides, I get a great deal of enjoyment out of the research itself.

Thank you, I take your point. I also enjoy the research, but I do not think it is always needed.

Is it OK if I write a crime novel with a fantastic character (EX: He/she has a special ability like Nicholas Cage in the movie “Next”, or has an imaginary friend that helps in the crimes.)

If not, is it OK if I make ONE of the characters a bit fantastic, but not the detective/investigator?

Thanks so much for sharing Garry – very useful indeed.

I am in the prepping stages of my first crime novel. I don’t have the years of experience in law enforcement. However, I do my research. TONS of it. I found this article and comments to be extremely helpful. This is going to be a long process. But, seems like it will be fun taking tiny pieces to create a bigger picture of what looked to be a harmless well-known guy to many. FUN FUN FUN! LOL

Sounds great! And if you need an expert to help you, you can hire Garry as a consultant!

Hi Garry – just discovered your website, great work. I guess there is a similarity between us as I used to be a Murder DCI in the UK and now advise writers on police actions and procedures. I think your site is really good and will be subscribing to receive your posts. If you ever get anyone who needs help from the UK police perspective I’m happy for you to point them in my direction. I have a website at http://www.gibconsultancy.co.uk Cheers Stuart

Great advice! After writing a children’s book which I didn’t get published, I thought I’d try a murder mystery novel. I’ve been totally put off the idea though as I don’t think I’m good enough to do all of that research!

Wow! This has been very enlightening and, not to mention, scary. I don’t mean that in a bad way. Honestly, I mean that I am afraid that my first and current novel will fail to capture the actuality of the investigative field. I do have a strong fear of failure. However, I am hopeful. I believe that it will all work out through the extensive use of coffee, Google, and blogs. Thank you for your tips! Perhaps, I could email you for further help? If you don’t mind, of course. 🙂

How fun! I don’t currently write mystery fiction or any fiction at all. My primary skill set is in nonfiction. But I am moving quickly back toward fiction, and hopefully back toward mystery fiction in the future, with a much deeper understanding than I had the first time I wrote something in that field.

Hi, this helped a lot, I am writing a murder mystery but I am having a hard time adding more detail to it or even coming up with reasons the people were killed. Also how to let the reader try to figure out the murder and leaving clues leading to the murderer. Thanks again for the article.

Great article and replies, make you really think more into crafting a crime scene. What about Robin Hood motivations. What were some of the more original motivations you’ve seen over the years for people committing acts of robbery for money and not for greed or drugs or thrills. Like, i.e, saving the farm, paying a mortgage.

I really enjoyed the article and a lot of the replies/comments. I’m putting together a crime scene for a mystery short story, so I’m doing my research. By the way, you mentioned that you didn’t want to write about wizards and vampires, but you may have a winner with vampire and wizard politicians in an erotica novel…just a thought.

This has stirred up some dormant story plans for me. I’ve been a paramedic since the tail end of the Reagan administration. So I suspect I’ve every wrong or stupid thing humans can do to each other. Most of my story ideas lean much closer to science fiction that crime fiction. But I keep considering writing something based on the actual murders that have happened around my social circle growing up. The fist girl I had a crush on was killed by her stepfather the summer after I met her. But he was rich so he got off. Several books and a few movies were made about the case. But they all seemed to minimize the person I was most focused on in the real case. Then a few years later, a guy at the end of my block was a known schizophrenic whose parents tried and tried to get committed. The insurance companies refused because he’d never acted like a danger to himself or anyone else. Then he killed five people. He was eventually executed. And finally I was sent on a call to check on someone who wasn’t answering calls from out of town family members. We call those kinds of calls a ‘welfare check’ and much more than 90% of them are benign. This one wasn’t. She’d been killed. The killer was later executed.

The catch is that these things happened in the 70’s, the 80s, and the early 2k’s. I can’t imagine how the science changed over those years.

Gary, I was happy to find this page. I have a murder case i was set up on in Oregon and its Cmplex but when a Person had ADHD- and Dyslexia it seems the courts can use that against a person. How can a person who cannot formulate a well writen timeline when they cant write well.

After what I had gone thru in Oregon how many other people are in the same boat.. you cant write well so you can’t get justice. And if you cant write well people will not read it. And so on..

It seems to me in a murder case when the Person Close to the victim believes that the Police and DA are not honest that there would be a Person who writes the facts… but they did not..

When you are also a victim of the crime it’s hard to know what else the police had so that your able to connect the dots .. how can you get the FOIA filled when the DA and Police are coruopt… (like my case for a murder in Oregon) they will not give one single thing… and its a closed case…

Anyways I wanted to thank you for the article …

Thanks for the tips! This really helps. Just a question here: do you see anything wrong in The X Files related to this post?

Thank you for the advice! I love writing and forensic studies so I’ve been trying to smash them together in one book ;). I currently have only scary things written, but if you have any links that could help me with any kind of other writing, that would be amazing. Thank you! -Lissy Depp

Thanks Gary. Because I like to write crime, for me it was an interesting article. I was writing about bones found and checked missing persons on goggle. I emailed a sergeant who worked in the area. I asked basic questions and he gave me all the answers I needed. Like what equipment do they set up at a crime scene, who attends etc. I realised these guys are very helpful if you have a question. I have approached the police force a few times now and once you tell them it’s research for a novel they are really helpful. Thanks Gary and I just ordered one of the books you suggested.

Regards Desley Polmear

Hi Delsey – Thanks for commenting. It’s nice to hear this post is still being read and appreciated this long after being published. Best wishes for your crime writing! ~Garry

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“A Simplified Guide to Fingerprint Analysis” lists three types of prints that can be lifted at a crime scene (2013). They are as follows: (Note: all information in this section comes from this article). Soft surface prints. These 3-dimensional plastic prints are found in soap, wax, wet paint and fresh chalk. Hard surface prints. The prints fall under two categories.

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Writing Realistic Crime Scenes

These chats take place every Wed. from 3-4 p.m. EDT. You can send in your questions at any time by tweeting to me @SueColetta1  with the hashtag #ACrimeChat . They’ll be saved under the hashtag until our next chat, and you’ll be notified of the answers, as well as receiving a recap of the entire chat. Here’s how it works: I take the questions in the order they are received and RT, marking each question with Q1 (Question #1), Q2, Q3, etc. The experts answer with the corresponding A1 (Answer #1), A2, A3, etc., so those watching can follow along. We launched two weeks ago with Crime Scenes  (<- the link will take you to the recap). Last week, we covered Evidence. And this week, the topic is Forensics. At the conclusion of each chat I announce the following week’s topic. You can also find the topics under the hashtag in case you’re not with us live.

These chats are a lot of fun and very informative. Because all of the experts are writers and/or crime writing consultants, if the answer to your question isn’t what you hoped, often times we can help you create a logical, realistic way around it so your story still rings true. I hope you’ll join us by going to #ACrimeChat . Incidentally, I’ve linked each member’s name with their Twitter handle so you can follow them, if you wish. I’ve also included their websites.

Now, without further ado, please welcome Captain (Ret.) Joe Broadmeadow.

In Writing Realistic Crime Stories, It’s all about the Little Things

One mistake many writers make in attempting to create an interesting scenario is they try too hard. In the real world of homicide investigations, or any serious crime for that matter, it’s the little things that create the biggest problem.

Here are two examples of actual cases where investigators faced a crime scene which told them one story and, after wasting precious time looking in the wrong direction, turned out to be something entirely different.

These are actual cases with identifying information removed to protect privacy. By understanding real-life scenarios, the writer finds unlimited possibilities.

Okay, first case.

“911, what is the nature of your emergency?”

“Help, someone shot my wife, oh my god, help. She’s bleeding, there’s blood everywhere.”

“Hold on, sir. I have help on the way…”

Thus began a series of events which would bring a veteran police officer to his knees, his own department accusing him of murdering his wife while his newborn child lay sleeping nearby.

Rescue personnel arrived first. The two paramedics were experienced and well-versed in dealing with victims and their families. They began to work on the victim, a 32-year old female, noting a gunshot wound to the head. Within a short timeframe, it became apparent the victim was deceased.

Several issues complicated the scene.

The body had been moved, forcing investigators to recreate the original position to determine trajectory.

The husband, a police officer, discovered the body after returning home from the overnight shift. He worked as a dispatcher that night and had left work at 8:00 am. When he found his wife he tried to revive her. Because he had come in contact with her, his hands were stained with blood. He told investigators he left his service weapon at home since he knew he would not be on the road that night.

On the floor next to the victim laid his department service weapon. It had been fired only once. Later examination found the husband’s prints on the barrel as well as all six cartridges, including the expended bullet. The investigator’s recovered a single round lodged in the ceiling of the bedroom. Based on the position of the body, the round would have been fired from the side, below the level of the bed, as if someone had crawled along the floor and then pressed the weapon to her temple and fired.

Stippling and powder burns surrounded the wound, indicating close contact.

At the time, the couple was in the midst of a reconciliation. Their first-born child, age two months, was still asleep in the same room where his mother died.

Based on the physical evidence and known circumstances it appeared to investigators that this was a homicide staged to look like a suicide.

All they needed was a statement from the husband, who insisted his wife had been depressed and had shot herself. But once they began the interrogation, he asked to speak to a lawyer.

Investigators went back to the scene to search for something more definitive.

One aspect of any investigation is to have early arrivers re-enact their actions. Investigators had the rescue team return to the scene along with the first responding officer. As the rescue personnel took their positions around the bed, the husband told investigators he had gone to the far side of the bed in order to assist as best he could. When he did, he moved a small changing table, pushing it further away from the bed.

This was not in his original statement.

When CSI detectives put the table back into its original position, they noticed a clear dent on the edge of the table that appeared to be a ricochet mark from the round. Once the scene had been put back into the untouched condition, it changed the entire situation.

Investigators re-examined the trajectory, and it matched perfectly with a self-inflicted gunshot wound to the temple.

Mary Jones repeatedly called her 17-year old daughter who was home sick from school. All she got was a busy signal. Concerned that something was wrong, she called a neighbor to go check.

The neighbor, an off-duty firefighter, went to the house. He knocked on the door and got no response. Sensing something was wrong, he sent his wife home to call the police.

The door was unlocked.

When he entered the residence he glanced down the hallway. Someone’s legs protruded from one of the bedrooms. Running quickly to the body, he then checked for a pulse and breathing .

Within seconds, Officers arrived on scene. The local firemen weren’t far behind. Unfortunately, it was no use. The woman had already succumbed to her injuries.

They secured the crime scene.

The firefighter who discovered the body was brought to the station for a statement. Investigators’ first impression of the crime scene showed no indication of forced entry. There was apparent sexual assault and the victim had been manually strangled.

Everything indicated the victim knew the perpetrator and let him in the house.

Under these circumstances, suspicion falls immediately on family and friends. Officers notified the father and asked him to come to the station. One of the most difficult tasks an officer faces is telling a parent their child is dead.

This is compounded when the parent is also considered a suspect. The reaction to the news can be telling and useful to the investigation.

In this case, the father showed genuine emotional responses to the news. Investigators were able to learn that the victim had stayed out of school, did not have a steady boyfriend, and there was no concern on the parent’s part that she would have someone over to the house without their knowledge.

The circumstances still lent itself to a person known to the victim.

Investigators again returned to the scene to continue their search.

A uniform sergeant, who’d been at the scene within minutes of the call, told investigators he had picked up a small table next to the door and placed the telephone back on the table. When he first arrived the phone was lying on the floor. Which explained the busy signal when the mother tried to call. Before this, he had not spoken to investigators.

Once investigators learned this new information, it changed how they viewed the crime scene.

By talking to the parents, they learned the table was normally located next to the door. From the position described by the sergeant and with the table moved back into its original position, it became apparent that someone had forced themselves through the open door, knocking the table over.

Once again, a tiny detail changed by someone who should have known better sent investigators down the wrong path.

In this case, armed with a new theory, investigators were able to locate a subject on prison work release, attending a training program in the area.

How The Murder Really Happened

The subject was attempting to break into the house. Knocking at the door, he was startled when the girl opened it. Panicked that he was not supposed to be away from his assigned training location, he forced his way inside, knocking the table over and the phone off the hook. At trial, the jury convicted him, the judge sentencing him to life.

When creating scenarios for your characters, the force combining to create tension and drama do not have to be complex or labyrinthine, often it’s the simplest things that work best. They’re also what will bite you every time if you get them wrong. Television and movies give a false impression of the nature of criminal investigations. Experience taught everyone a lesson here. The smallest detail can have serious consequences, giving writers many opportunities to wreak havoc on their characters.

Joe Broadmeadow retired with the rank of Captain from the East Providence, Rhode Island Police Department after twenty years. Assigned to various divisions within the department, including Commander of Investigative Services, he also worked in the Organized Crime Drug Enforcement Task Force and on special assignment to the FBI Drug Task Force. He has testified in State and Federal Court as an expert in Electronic Surveillance and Computer Forensics.

You can learn more about Joe and his books at his website and   Amazon author page .

If you enjoyed this post, please share. Thank you!

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Sue Coletta

Sue Coletta is an award-winning crime writer and an active member of Mystery Writers of America, Sisters in Crime, and International Thriller Writers. Feedspot and Expertido.org named her Murder Blog as “Best 100 Crime Blogs on the Net.” She also blogs on the Kill Zone (Writer's Digest "101 Best Websites for Writers"), Writers Helping Writers, and StoryEmpire. Sue lives with her husband in the Lakes Region of New Hampshire. Her backlist includes psychological thrillers, the Mayhem Series (books 1-3) and Grafton County Series, and true crime/narrative nonfiction. Now, she exclusively writes eco-thrillers, Mayhem Series (books 4-8 and continuing). Sue's appeared on the Emmy award-winning true crime series, Storm of Suspicion, and three episodes of A Time to Kill on Investigation Discovery. When she's not writing, she loves spending time with her murder of crows, who live free but come when called by name. And nature feeds her soul.

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20 comments.

EVE ANDERSON

Just little details change the whole perspective. Here we had a crime & the justice official in charge (a novice), let the family clean, removed & burn the mattress.

To this day the Justice Department try to convict someone & 2 times the Judges say Um, No.

Something is fishy & is clear that the Justice Dept. is trying to deviate the attention. The Lawyer & his group (Defensors of Poor Peiple) of the supposely murderer Lcdo. Moczó, just crush the opposition in 2 turns at the bat..

Poor child as of today the criminal is free.

Oh, how sad, Eve. Sounds like that official really messed up that crime scene…to the point where a conviction would be nearly impossible now. And unfortunately, it’s the family who suffers.

Jennifer Chase

Great post! Interesting details as the cases unfolded. Thanks for posting 🙂

Thanks, Jen. It’s nice to see you. 🙂

Extremely intriguing to see how these scenes played out and the minute details that made a difference in the findings. Thank you, Richard, for sharing your knowledge and experience with us, and thank you, Sue for having such a wonderful guest.

BTW, I think the #ACrimeChat is an awesome idea. I hope to be tweeting questions once I have some time to focus on my WIPs. I’m assuming that it’s best to only ask questions related to the topic at the time? Thanks for organizing it, Sue, and to all your experts for taking the time to share their knowledge!

We try to stay on topic, Mae, but if you reach a point in your story where you need an answer, just tweet it to me regardless of topic. The whole crew is easy-going. We all want this to work for writers, so that’s the most important thing.

I’m glad you enjoyed Joe’s post. Enjoy your week!

Joe Broadmeadow

Mae, We are always looking for topics to explore. If you have a question ask it on #ACrimeChat and we’ll add it to our list of topics

Very cool post. I assumed they weren’t all intricately woven layers of plot and false evidence. There is a balance between making things obvious and getting enough mystery to tell a good story.

Exactly, Craig. Totally agree.

As to case #1 It shows how important it is to get detailed statements from all involved. One reason why (in Canada) we don’t let anyone but the forensic investigators onto the scene while investigating is too many cooks in the kitchen. I’ve had something similar and furniture that has been moved recently usually leaves a tell. carpet leaves indentation marks, floors, lack of dust or dirt where the legs or base was located. We use the right hand rule on scenes. start to your right and go completely around the room examining and photographing everything. It is time consuming but works. The forensic investigator should have found the table to be moved and the mark left by the bullet. that information could then be brought to the husband. Never let the suspect onto the scene.

I had what looked like a natural death. the body was on the bed and was supposedly discovered by the tenant who was renting the main house while the deceased stayed in the cottage. the tenant stated that he had tried to knock on the door but when he got no response he went to the back of the cottage and looked into the room. when he saw the deceased on the bed he stated to the police officers that he opened the window and climbed in. The man was still at the scene when I arrived and I noticed he was acting strange. after hearing his story i ordered the officers to remove him. the rear window was indeed open but an examination of the siding and the window trim showed no evidence that anyone had climbed in. fingerprint examination showed only the tenants prints on the bottom of the window frame but reversed. (the prints were made while standing inside the room) further investigation of the bed sheets and pillow case showed that the deceased had been smothered. A conviction was registered.

Forensic Investigation isnt just about photographing and collecting evidence. you have to read the scene, read the evidence and go through a process of eliminations.

I enjoyed reading about your two cases, Richard. We can never have too much information for crime writers, so I thank you!

Richard, One of the problems within most agencies is the immediacy of the moment often clouds the best-laid plans. In Case #1 the position of the table in the initial view appeared to be normal. There was no reason to move it. The realities of crime scene procedures and the expectations of the perfect scene are often far apart

Garry Rodgers

Great points, Joe. Definitely coming from someone who’s been there. In my experience, most crime scenes are fairly straightforward as long as they’re investigated objectively. A big mistake I’ve seen investigators make is to form a theory and then try to make the details fit, rather than just look at what the details are saying. Like you point out, one of the biggest hindrances is when a scene has been disturbed. (Hate it when that happens 🙂

Interpretation of crime scene details is an art on its own and is something I think most crime readers enjoy working out. I guess that’s why red herrings have been such a popular device and why the “Ah-ha!” moments are so rewarding.

Thanks for weighing in, Garry. Always happy to hear your two-cents. As you know, I watch a ton of true crime on ID. My favorite is Homicide Hunter. I mention him because often times when his team gets off track they go back to the beginning and start again. It helps him clear any misconceptions that’ve crept up in the investigation and many times, he finds new information that leads him to the correct conclusion, like the cases here.

Garry, There’s an interesting case in Rhode Island that illustrates this point. A woman is found murdered. There’s some significant injuries to the victim indicating rage and perhaps a personal connection.

The body was found by an off-duty officer.

The attention focuses on the police officer who was having an affair with the woman and lied to investigators about it. The investigators, from the officer’s own department, made certain assumptions and ignored normal procedures.

To make a long story short, the officer was convicted after trial. Six years later, another man walked into State Police Headquarters and confessed to the crime. He knew aspects of the case that only the killer would know. Investigators were able to determine he was also involved with the victim.

The officer served 6 years, convicted of a homicide he did not commit. Based on his lying to investigators about an affair, they assumed his guilt and manipulated the evidence to fit the theory.

This is one of the cases that changed my support of the death penalty.

Wow. It’s hard to recover after a homicide conviction. Did he get his job back? Or was his career ruined for good? He must have been bitter, sitting in that prison cell. I know I’d be.

No. Fought with the agency for back pay and a wrongful conviction suit

Margot Kinberg

This is so helpful Thanks very much to both of you. Those little details can make all of the difference; and in a crime novel, they can be effective ways to leave clues and create a plausible way for sleuths to get information.

I agree, Margot. The magic is in the tiny details. Unfortunately, it’s those same details that really derail a story, especially if a member of law enforcement is reading our book(s).

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Important Crime Scene Responsibilities Essay

Introduction, importance of the selected crime scene responsibilities, adverse events to a crime scene, how to conduct the selections properly.

This paper not only discusses why caring for the injured, ensuring scene safety and security, and undertaking scene walk-through for evidence and chain of custody are the most important crime scene responsibilities but also illuminates aspects of what needs to be done to ensure that these selections are conducted properly. From the discussion and analysis, it is evident that caring for the injured and ensuring scene safety and security should be the first priorities of the responding officers, hence their selection. It is also evident that the responsibility of undertaking scene walk-through for evidence and chain of command is equally important based on its capacity to provide the lead investigator with the opportunity to not only gain an overview of the situation but also to implement a tactic for the methodical assessment and documentation of the whole crime scene. Although each crime scene responsibility is unique and important in its own way, this paper has provided enough justifications to show why the three selections are of utmost importance in crime scene investigations.

Available forensic science scholarship underscores the importance of preserving and recording evidence at a crime scene in its original condition if investigators are to succeed in searching for the perpetrator (Fisher & Fisher, 2012; Saferstein, 2012). As a matter of fact, the actions of the first professionals in attendance at a crime scene are of immense importance not only in maximizing the recording and recovery of relevant evidence but also in ensuring that the executors of the crime are apprehended. Crime scenes that have been correctly safeguarded and proficiently assessed using a methodical, sequenced strategy can provide fundamental evidence, hence the need for investigators to develop an adequate understanding of crime scene responsibilities and their importance (Horswell, 2013).

Concurrently, research is consistent that forensic evidence in crime scene settings may be damaged by the absence of essential crime scene preservation procedures, thus the need for investigators to take firm and active steps aimed at protecting crime scenes (Jamel, 2014). In this light, the present paper discusses why caring for the injured, ensuring scene safety and security, and undertaking scene walk-through for evidence and chain of custody are the most important crime scene responsibilities and what needs to be done to ensure that these selections are conducted properly.

Caring for the injured is an important crime scene responsibility based on the fact that the preservation of life should form the primary objective of the investigators. Here, it is important for the investigators to ascertain whether the victim needs any medical assistance since the preservation of life should be given primacy in crime scene investigations. Available scholarship underscores the need for investigators to call for medical assistance when they reach a crime scene with the view to ensuring that first aid is promptly rendered to the victims (Fisher & Fisher, 2012). Additionally, this crime scene responsibility is more important than the others due to the fact that the victim may help in identifying the perpetrator of the crime if concerted efforts are made to preserve life.

Moreover, it ethically and morally fits for investigators to first care for the injured even as they take appropriate measures to preserve and record evidence (Horswell, 2013). The responsibility of ensuring the safety and security of a crime scene is equally important based on the fact that the lives of police and other professionals offering support services may be endangered in a crime situation. Although it is important to secure the crime scene with the view to ensuring minimal contamination and disturbance of physical evidence, the first priority of the initial responding officer should be to ensure the safety and physical well-being of officers and other persons in and around the crime scene (Fisher & Fisher, 2012). As such, it is important for investigators to implement measures aimed at controlling physical threats in a crime scene with the view to protecting their own lives and those of the general public. Lastly, the responsibility of undertaking scene-walk through for evidence and chain of custody is important based on its capacity to provide the lead investigator with the opportunity to not only gain an overview of the situation but also to implement a tactic for the methodical assessment and documentation of the whole crime scene.

If the selection of caring for the injured is not conducted properly, it is possible to lose unnecessary lives and also to lose critical pieces of evidence that may be known to the victims. Additionally, failure to ensure the safety and security of the crime scene may occasion harm to the investigators, medical personnel, and other people in and around the crime scene. Finally, failing to undertake a proper scene walk-through for evidence and chain of custody may adversely interfere with the evidence that could be used by the investigators to solve the crime and apprehend the perpetrator. It may also be impossible to preserve the scene from possible contamination, formulate a strategy for processing the scene and the collection and preservation of evidence, and make a determination on whether additional equipment or personnel are needed to process the scene if the responding officers failed to undertake a proper scene walk-through for evidence and chain of custody.

A multiplicity of recommendations and guidelines can be used to ensure that the crime scene responsibilities selected in this paper are conducted properly and professionally. In ensuring scene safety and security, it is important for the responding investigators to remain observant of any persons, vehicles, events, and other environmental conditions with the view to ascertaining that the perpetrator is no longer in the immediate vicinity of a crime setting and is not a threat to individuals at or in close proximity to a crime scene (Saferstein, 2012). It is also important for the responding team to examine the crime scene for physical things, sounds, and scents that may signify danger to the professionals and other people at the site. The crime scene should be approached in a manner that not only minimizes the risk of harm to the responding officers but also optimizes the safety and security of victims, witnesses, and other people in close proximity to the area. Lastly, it is also important to not only survey the crime scene for potentially dangerous people with the view to controlling the situation but also to notify supervisory personnel and call for assistance or backup (Burrell & Bull, 2011).

In caring for the injured, it is important for the responding professionals to ensure that proper medical attention is given to the injured individuals without unnecessarily contaminating the crime scene. Available forensic science scholarship demonstrates that this crime scene responsibility can be conducted properly by (1) assessing the victims for signs of life and medical requirements with the view to providing immediate medical attention, (2) calling for medical professionals, (3) guiding the medical professionals to the victim with the view to reducing contamination or alteration of the crime scene, (4) pointing out potential physical evidence to the medical professionals and instructing them to reduce contact with such evidence, (5) instructing the medical professionals not to “clean up” the scene and to desist from removing or altering items originating from the scene, (6) obtaining the names, units, and telephone numbers of the medical professionals providing assistance to the injured, (7) obtaining the name and location of the medical facility where the victims are to be taken for further treatment, (8) attempting to obtain a dying declaration in situations where the victim may die, and (9) documenting any statements or comments made by victims, suspects, or witnesses at the crime scene (Balemba, Beauregard, & Martineau, 2014; Saferstein, 2012). Lastly, in undertaking scene walk-through for evidence and chain of custody, it is important for the responding officers to document and photograph the items found in the crime scene, ensure that any fragile evidence is secured or tagged, place numbered markers near each item of evidence located with the view to alerting other crime-scene personnel to the location of difficult-to-observe evidence, canvas the area outside the barricaded scene, and take particular note of aspects of the crime scene that may suggest the timing of the incident (Saferstein, 2012).

This paper has not only discussed why caring for the injured, ensuring scene safety and security, and undertaking scene walk-through for evidence and chain of custody are the most important crime scene responsibilities, but also illuminated aspects of what needs to be done to ensure that these selections are conducted properly. Although each crime scene responsibility is unique and important in its own way, this paper has provided adequate reasons to show why the three selections are of utmost importance in crime scene investigations.

Balemba, S., Beauregard, E., & Martineau, M. (2014). Getting away with murder: A thematic approach to solved and unsolved homicides using crime scene factors. Police Practice & Research, 15 (3), 221-233. Web.

Burrell, A., & Bull, R. (2011). A preliminary examination of crime analysts’ views and experiences of comparative case analysis. International Journal of Police Science & Management, 13 (1), 2-15. Web.

Fisher, B.A.J., & Fisher, D.R. (2012). Techniques of crime scene investigation (8th ed.). Boca Raton, FL: CRC Press.

Horswell, J. (2013). The practice of crime scene investigation (3rd ed.). Boca Raton, FL: CRC Press.

Jamel, J. (2014). An exploration of rapists’ motivations as illustrated by their crime scene actions: Is the gender of the victim an influential factor? Journal of Investigative Psychology & Offender Profiling, 11 (3), 276-298. Web.

Saferstein, R. (2012). Forensic Science: From the crime scene to the crime lab (2nd ed.). New York City, NY: Pearson.

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1. IvyPanda . "Important Crime Scene Responsibilities." May 20, 2021. https://ivypanda.com/essays/important-crime-scene-responsibilities/.

Bibliography

IvyPanda . "Important Crime Scene Responsibilities." May 20, 2021. https://ivypanda.com/essays/important-crime-scene-responsibilities/.

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Vague Visages

Movies, tv & music • independent film criticism • soundtrack guides • forming the future • est. 2014, crime scene #14: ‘five deadly venoms’ and kung fu criminality.

Crime Scene is a monthly Vague Visages column about the relationship between crime cinema and movie locations. VV’s Five Deadly Venoms essay contains spoilers. Cheh Chang’s 1978 film features Sheng Chiang, Chien Sun and Phillip Chung-Fung Kwok. Check out film essays, along with cast/character summaries , streaming guides and complete soundtrack song listings , at the home page.

Most of the featured movies in this column are unequivocally “crime” films. Just as importantly, all of the movies covered thus far were unabashedly marketed as crime productions — no questions about genre whenever it comes to their trailers, poster artwork or expected audience. This time around, I’m going in a different direction with a legendary Shaw Brothers kung fu film that slips in a criminal conspiracy whodunit underneath the expected fisticuffs: Five Deadly Venoms , directed by Chang Cheh   (1978, alternatively called The Five Venoms ).

The Shaw Brothers studios, in their heyday, churned out films by the bucketload. For most Western viewers, their logo is inextricably linked to martial arts, with the company’s biggest worldwide hits in the 70s and 80s being kung fu flicks. Many of the plots are broadly interchangeable, revolving around stories of young heroes overcoming adversity against ne’er-do-wells, usually with the help of an aging master . That sense of interchangeability is only made more concrete by the extensive use of the Shaw backlots in Hong Kong’s Clear Water Bay Film Studio: watch enough of these movies and you’ll notice sets and props being continually reused, a result of the company’s famously parsimonious filmmaking techniques.

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But amidst that interchangeability, the studio continually produced films of genuine artistry, genius and pure entertainment, courtesy of a talent pool which was able to rely on a continuous stream of work in which to hone their craft. By the late 1970s, Shaw Brothers had been the dominant studio in Hong Kong for at least a decade, though Golden Harvest (who had signed Bruce Lee) was starting to catch up. Chang was the star director, having gradually shifted from wuxia films ( The One-Armed Swordsman , 1967) to the hand-on-hand bloodiness of kung fu from the early-to-mid-70s onwards, in accordance with prevailing audience tastes. The filmmaker was unrelentingly busy, directing as many as five or six productions a year (he clocked up almost 100 features during his career). By the late 70s, however, Chang’s star was being eclipsed by his former pupil Lau Kar-leung, who had begun his career as an action choreographer before breaking out into directing on his own.

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These two careers form a fascinating instructive on the possibilities of the action film form. Lau, a bona fide martial artist, utilized his movies to showcase kung fu styles and philosophies, sometimes completely at the expense of plot; his 1978 film Heroes of the East essentially ditches the story in the second half to become one long fight scene. Chang’s films tended to be more narrative and plot-focused, animated by his favorite themes of brotherly love , male bonding and camaraderie. Many critics read a certain homoeroticism to his movies, aided by his love of having characters dispatched through impalement, as Chinatown Kid (1977) literally has one fight end after a baddie gets stabbed in the ass, though Chang himself strongly rejected any such suggestions.

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Whether it was out of a desire to remain in a privileged position at Shaw with newcomers snapping at his heels or a genuine desire to experiment with his craft, Chang frequently found ways to freshen his methods when budgets allowed. Though much of the filmmaker’s output focuses largely on wuxia and kung fu movies, he did utilize crime film elements in his work: The Boxer from Shantung (1972, with Hsueh-Li Pao listed as co-director) and Chinatown Kid are both structured as rise-and-fall gangland narratives. But the construction of the thriller elements in Five Deadly Venoms   are the most interesting and well-developed; a complex mystery about criminal conspiracy and corruption under the guise of a kung fu flick. Chang deploys the standard tropes and iconography of the Shaw Brothers style with the pieces re-arranged. Suddenly, a layout that one has seen a hundred times before re-emerges fresh .

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The opening scenes of Five Deadly Venoms introduce the main fighters, each with unique styles related to a poisonous animal: Centipede (Lu Feng), Snake (Wai Pak), Scorpion (Sun Chien), Gecko (Philip Kwok) and Toad (Lo Mang). The dying master of the Venoms style tells the disciple Yang Tieh (Chiang Sheng) to seek out the rest of clan and restore their reputation, with various members trying to track down an ill-gotten treasure. The rub, however, is that the characters are mostly only familiar with each other through their fighting styles. Thus, when Yang arrives in the city , he has little to go on.

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It gradually emerges that some of the Venoms have found each other, but the group has largely split into two camps (one good and one bad) that broadly work in the dark, unaware of who or what they’re up against — a fact that’s further complicated when bodies start dropping as the evil Venoms try to cover their tracks.

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The more complex, plot-driven nature of Five Deadly Venoms   also means that it’s a more “talky” film than its contemporaries, as the protagonists continually have to work with new information. Thankfully, the meat of the movie is in Chang’s classical, highly detailed filmmaking, elevating the whodunit qualities into more than a plot strand while dipping into political corruption, betrayal and power.

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A big part of Five Deadly Venoms’ magic is how Chang utilizes familiar Shaw sets. As with so many of the studio’s films, the movie is set in some unnamed part of Chinese history in an unnamed Chinese town. The presence of an Imperial Court and pre-modern architecture suggests Qing Dynasty, but this could be anywhere, especially for non-Chinese-speaking viewers largely unfamiliar with the details. The artificiality of the town compounds matters, as the Shaw Brothers’ have a habit of making their films feel fable-like and semi-mythic (which is part of the appeal).  

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The lack of physical locations places limitations on scale, as the focal setting could be a village of a hundred or a city of a million. Chang maneuvers around this in wide shots by giving the sets a sense of packed-in claustrophobia. Street fights happen in narrow alleyways, limited by the walls either side, while characters frequently bump into each other on street corners or see things they’re not supposed to by hiding behind walls and bushes. Even the temple which serves as the birthplace of the Venoms style is a dingy, dungeon-like space in which no sunlight arrives. Perhaps the only “open” space in Five Deadly Venoms  seems to be the Imperial Court, with studio-powered sunlight filtering in through the wide garden and open courtroom.

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Open space lighting plays nicely into Five Deadly Venoms’ plot, where the fortunes of the subjects are directly tied into whoever has the ear of the local authorities, with the courtroom being the location where power structures are most visibly played out. As Chang slowly reveals the identity of each Venom, it becomes clear that they’ve gradually integrated themselves into the town’s daily life: one is a detective in the police force, and another is a local businessman. Their secret assimilation into local life powers the intrigue at the heart of Five Deadly Venoms’ plot, as the bad-guy characters utilize their influence to shift suspicion away from themselves, going as far as to bribe jail guards into poisoning their inmates and then killing any witnesses. On Simon Abrams’ audio commentary for the Arrow Video release , he remarks on how Chang delineates between private and public spaces in the film. Offices, living rooms or semi-private spaces like jail cells are used for plotting and scheming, while public spaces like the city streets, the eatery or the courtroom are where realism emerges through legal decree or hand-to-hand combat.

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The spatial detail in Five Deadly Venoms , aided by Chang’s sharp sense of timing, helped the film become a surprisingly labyrinthine vision of camaraderie in the face of corruption and power. The lack of “real” locations may be a natural side-effect of the Shaw style, erasing local specificities in favor of a more general “Chinese-ness” that could be sold across the diaspora, but equally it allowed the better directors in the studio stable greater control over the camera, ensuring that their consummate professional craftsmanship superseded the generic material. And so Five Deadly Venoms   reached classic status by stretching the Shaw style to new places, courtesy of fresh ideas and the central twist-driven criminal conspiracy.

Fedor Tot ( @redrightman ) is a Yugoslav-born, Wales-raised freelance film critic and editor, specializing in the cinema of the ex-Yugoslav region. Beyond that, he also has an interest in film history, particularly in the way film as a business affects and decides the function of film as an art.

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Categories: 1970s , 2024 Film Essays , Action , Crime Scene by Fedor Tot , Drama , Featured , Film , Movies , Mystery

Tagged as: 1978 , 1978 Film , 1978 Movie , Action Movie , Cheh Chang , Chien Sun , Drama Movie , Fedor Tot , Five Deadly Venoms , Mystery Movie , Phillip Chung-Fung Kwok , Sheng Chiang , Streaming on Fandor , Streaming on Mubi , Wu du

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