As I flesh out this new scene where Portia needs to do some research on forensic science, I intend to use the Forensic Department at Guy’s Hospital (part of the University of London) as one of her sources.
She is going to use the library there to do her research on corpse decomposition.
Ah ha, the things you will learn on this blog my friends!
The plural for Bobby (slang for an English police officer, named after the man who first organized the British police force – Sir Robert Peel) is Bobbies. “Bobbys” is not a word in the English dictionary.
I’d love to tell you where this image on the left came from and give credit where credit is due, but I have been unable to chase it down further than here.
Also of interest in this subject line is that the Constables were also called Peelers (the name obviously coming from the same man) and that Peel established several principles of policing that are still very relevant today. You can read his nine principles here at the New Westminister Police Department website.
The uniforms for the Bobbies varied, but you should see how the helmets changed! There’s thankfully an entire site dedicated to archiving images of historical helmets of our favourite British Constables here.
For my latest casebook No Matter how Improbable I need Portia to detect that someone has recently been at a racetrack, therefore the morning has been spent learning all about racing in England.
I knew before I started that the Romans loved to race, and with their expansion into Brittania centuries ago, racing might have come with them, but I didn’t know how much modern-day racehorses owed to England.
Did you know that “All modern thoroughbred racehorses can trace a line back to three foundation sires which were imported to Britain in the late 17th/early 18th centuries” ? That is crazy to me. It’s like the stat about Genghis Khan being the progenitor of 0.5 percent of the male population in the world.
Anyway, back to my storyline, I needed a racetrack that existed in 1930, was close enough to London to be traveled to without staying the night and had the potential to have a type of earth/soil that could be distinguishable.
I believe Kempton Park Racetrack satisfies these requirements, and at the time, one could take the tube to London Waterloo Station to partake in a day of horse-racing. Kempton is in Sunbury-on-Thames, a town 21km southwest of central London and flanked on its south side by the River Thames. Now to figure out if there is a specific kind of loam or soil I can identify from the area – take a look for example at this map of UK soils from this online forum.
It’s weird, but I’ve had the honour of reading my friend Rami’s developing book lately, and because it is so descriptive in the violence of a few scenes (I hope I’m not spoiling anything Rami!) I feel like researching cop killers is no big deal.
Odd that violence so quickly becomes ‘normal’ to us.
Regardless, I have been reading up on Mr. Lawrence DeVol, a well-known murderer and cop-killer from the era (if not the area, he committed his crimes in America). I think that is the direction this latest casebook is taking me, so I am willing to walk down that dark path for a little while.
I’ve also been reading about Ned Kelly (who some identify as a cop-killer, and some a folk-hero) and his crimes.
The psychology of cop killers (well of most pre-meditated murders) is complex to say the least. I am trying to avoid some of the obvious linkages (I hate cops because cops killed my father/mother/brother) and make this a more nuanced story. I’m going to try to link the death of Chief Inspector Dillon Breen Archer to this cop-killer, so stay with me, more to come as I get further into Casebook 9: No Matter How Improbable.
Doing some more research on suicide tonight (my first post about it was back in January, you can read it here)… this time with a focus on how to tell the difference forensically between a suicide and, well, not a suicide.
First: the method (jumping off a building)
According to a really interesting site I found called ‘Lost all Hope’:
The most important factor in suicide by jumping is height. Stone2 states that jumping from 150 feet (46 metres) or higher on land, and 250 feet (76 metres) or more on water, is 95% to 98% fatal. 150 feet/46 metres, equates to roughly 10 to 15 stories in a building, depending on the height of one story. 250 feet is the height of the Golden Gate Bridge in San Francisco.
The most common injuries were fractures of the thoracic and lumbar spine (83.0%) with a preference for the thoracolumbar junction. Fracture of the lower limbs occurred in 45%. The most frequent injuries were fractures of the os calcis (64.4%) and the ankle joint (26.6%). Twenty-five percent of all patients suffered from fractures in the upper limbs with a preference for the distal radius (56.6%) and the elbow (44.0%).
The article goes on to say that only 27% of the people they studied for their report died from head injuries… which of course begs the question if that didn’t kill them, what did?
Third: the after-effects (legally and religiously) of suicide
I’m not a member of a christian religion, but I believe in 1930s London, most of the population was, so I am going to make this character a Catholic. Catholics seem to have very clear beliefs when it comes to suicide, so if this death is ruled a suicide, the character will not be allowed to have a burial with a priest at his church.
Legally, I cannot find evidence in British Law that changes how the heirs to inherit from someone who committed suicide VS someone who died by some other cause. What is clear that suicide and natural causes will fast-track the fulfillment of the will, while any suspicion of foul play will delay everything as the truth is worked out.
Happy Holidays friends, I hope you are celebrating this time of year exactly the way you like to – whether you actually celebrate Christmas or Hanukah, or just celebrate a few days off from work to gather with the people you love (like me!)
One of the things I do love about this time of year (other than the presents, which yes, despite the lack of religious/cultural tradition, I partake in) is Boxing Day shopping.
Well, Chapters was having a 30% off hardcover sale, and look at what I brought home!
If you know a little about this series I am writing, you know it is based in 1930s London, England, making this book an awesome research resource for both my facts and imagination.
In my head, Portia Adams has walked these streets for over a year now (when I started writing about her) and the internet and the library have been my primary sources for her world. This is a beautiful book, with over 500 images from the former London County Council archive of photographs, many of which were unpublished until now.
I will be posting images from the book from time to time and for sure quoting from it in this blog (all credit to Philip Davies, and I hope he sells lots of books – Amazon.com link here!)
I’m 25 pages in and I have some fantastic ideas for the setting of my next crime-scene – so stay tuned my friends, and let me know about your great Boxing Day finds in the comments below!
Your flashback should follow a strong scene. (so the flashback should not be your FIRST scene, though lots of TV shows start that way, with a scene from the future that makes no sense, and then a black screen that says ’72 hours earlier’ or something like that)
Orient us at the start of the flashback in time and space (in other words, don’t just give a time reference for the flash back, also set the scene in terms of characters and where they are).
Use verb tense conventions to guide your reader in and out of the flashback (tricky, but it depends on what tense your ‘current’ timeline is written in and from what voice)
In case ‘past perfect’ is only known to you because you studied French in school, Hallie Ephron has written a useful table to use for tenses and flashbacks:
TENSE TO USE FOR FLASHBACKS
If the main story is written in…
Write the flashback in…
Past Perfect Tense
He had run
On Quora, where there is a question open on this subject, Mark Hughes (Screenwriter, Forbes Blogger) had an interesting suggestion:
In novel or other literary form, I personally believe the best flashback method is to alternate chapters/sections of the writing, so that (just for example) Chapter One is set in the present, and ends by leading us into a scene that links to the past. Then Chapter Two is all flashback, related to the concept/theme/actual events of the final scene in the previous chapter. And so on.
For those of you who have not had the good fortune of reading the original Horatio Hornblower series (I read them in my teens, and am re-reading them now) this is a teaser of a great BBC version you should get ahold of. As I continue to transcribe Casebook 7 ‘Principessa,’ I find that I am drawn to literature preceding the 1900s for my tone and even the words I choose. So I hope you enjoy this little treat from one of the great fiction writers of his time!