The First Body I Never Forgot (and Why Some Stay With You)

Some seasons carry a particular kind of memory.

Michigan in the fall.

The air cools. The sun recedes. The leaves color, brown, and drop.

In many ways, memory behaves the same way. Certain experiences fade. Others remain intact, preserved beneath the surface, waiting for the right season to rise again.

People often ask me, as a coroner’s daughter, whether there was a first body I never forgot.

There were many. But it started with this one.

Growing Up in a Medical Examiner’s Family

I was eight years old. My younger sister was six. A dual engine airplane had crashed in a field near our town’s small airport in rural Michigan. On a Sunday afternoon, instead of errands or rest, our father took us along to assist in the search for remains.

We walked the field with him.

We found fragments of brain matter and pieces of skull scattered in the grass.

When people hear that detail, they expect horror. Trauma. Shock.

What I remember is something else entirely.

My father treated the moment as he treated many moments in our childhood. He turned it into a lesson. He explained that the brain is the body’s central organ, the command center responsible for every signal that allows us to move, breathe, think, and live. He described the skull as a bone helmet designed to protect that fragile and essential organ.

His voice was steady. Clear. Clinical.

Respectful.

Those are the details that imprinted themselves in my mind.

I don’t remember fear. I don’t remember disgust. I don’t remember feeling emotionally overwhelmed. I remember being included. I remember being trusted. I remember wanting to help.

That response makes more sense when you understand the environment in which I was raised.

For nearly twenty five years, my parents ran the Medical Examiner’s office in three rural counties in northern Michigan. An expanse of territory hundreds of miles deep and wide.

My sisters and I were often alongside them. Death investigation was part of our daily vocabulary. It was never sensationalized. It was never treated as a spectacle. It was handled with professionalism and dignity.

Growing up in a medical examiner family shapes your understanding of death from a young age. You learn that death is part of life. You learn that answers matter. You learn that families need clarity as much as they need comfort.

And above all, you learn to pay attention.

Understanding Death Before You Understand Its Weight

At eight years old, I didn’t grasp the larger significance of what we were doing in that airfield. Even today, that memory feels almost secondhand. I know the event happened because my parents retold it. I can’t fully reconstruct the sensory experience in vivid detail.

What I understood at the time was simple.

Death exists. It deserves respect. It requires careful attention.

Justice requires patience. Often into years or decades.

Emotion needs to be tampered so that logic can shine through.

Truth requires the discipline of careful examination and record keeping.

In our bucolic farming community, most cases that came through the coroner’s office weren’t homicides. They were accidents, natural causes, and sometimes suicides. Farm equipment incidents. Drunk driving fatalities. Motorboat collisions on Lake Michigan. Hunting accidents. Cardiac events in barns and fields. Self inflicted gun shot fatalities.

Some deaths were preventable. Some were tragic coincidences.

When a combine flipped over or a drunk driver got behind the wheel and killed an innocent family, grief often carried an undercurrent of regret. Loved ones would ask whether a different decision could have changed the outcome. In death investigation, those questions linger.

Homicides were rare. But when they did occur, the emotional atmosphere shifted dramatically. Grief braided itself with anger and fear. Loved ones demanded justice. There was sometimes a temptation toward vigilante resolution. Small towns feel violence deeply because everyone knows everyone.

Watching my parents navigate those tensions taught me something that would later influence my crime fiction.

Why Certain Cases Stay With Investigators

One of the most common misconceptions about death investigation is that cases linger because of their graphic nature.

That’s not necessarily how it happens.

Cases stay with investigators because of the people attached to them.

If a particular case lingers with me, it’s because it carries emotional value that aligns with something I believe deeply. Justice. Restoration of order. Redemption. The protection of the vulnerable.

The human mind holds onto story longer than it holds onto gore.

Cases stay with investigators, coroners, detectives, or forensic professionals, because the imprint is relational. It’s about the life behind the body.

Who were they?

How did they live?

Who loved them?

Were they protected?

Were they failed?

In death investigation, you quickly realize that Cause and manner are clinical determinations. They matter legally. They matter for closure. But they don’t fully explain a person’s flesh and blood life.

The Emotional Cost of Paying Attention

When people ask if there was a high emotional cost of growing up around death investigation, I often pause before answering. If there’s an emotion that still lingers, it is that of empathy and compassion and deep respect for human life.

In the airplane crash case that I attended when I was a child, there was no emotional cost for me at the time. I was too young. Only eight. My father’s calm demeanor shaped the emotional tone. Everything he did became a lesson. He was a natural teacher. He approached each case with steadiness and thoroughness.

Over the years, what embedded itself in me wasn’t trauma.

It taught me the importance of responsibility and work ethics.

Do a good job.

Look closely.

Listen attentively.

People were looking to my dad for answers that would help them understand a loved one’s death. That understanding matters deeply to them. It mattered to him.

In professional death investigation, attention to detail isn’t optional. A missed observation can alter the trajectory of justice. A rushed conclusion can harm a family’s ability to heal. That discipline shaped my worldview long before I ever put pen to paper.

The emotional fallout you witness from a life ripped apart from his loved ones comes in ripple effects.

It comes when you see how preventable some tragedies were.

It comes when you watch families fracture under the weight of unanswered questions.

These are lessons that I remember learning growing up around other people’s tragedies.

How This Shaped Emily Hartford

Readers of the Coroner’s Daughter mystery series often ask whether Emily Hartford reflects my upbringing.

She does. In many ways.

In The Coroner, Secret Remains, Last One Alive, Frozen Lives, and What Darkness Does, and in next month’s new release, WALKING ON WHITE, Emily approaches each death with tenacity and persistence. She refuses to accept partial answers. She won’t close a case prematurely. That’s by design.

Emily doesn’t have closed cases in the emotional sense. She carries them until resolution is achieved. That mirrors how my parents ran the Medical Examiner’s office. They investigated thoroughly. They persevered. They believed that accuracy and truth were due the public they served.

They sought to provide answers and close doors on the investigations. In the same way, crime fiction tries to do the same thing. In crime fiction, readers can depend on a story paradigm where justice is achieved by the final page. Order is restored. Chaos is addressed. Hope and redemption are offered.

They offer a framework in which good confronts evil and resolution follows.

At its core, crime fiction is built around a moral architecture of good versus evil.

Crime Fiction Rooted in Real Forensics

When writers ask me about what inspires my crime fiction, they often expect dramatic anecdotes. They imagine the most violent cases shape the narrative. It’s true that I like my forensics to “make sense” and I strive to be authentic in my telling.

However, the most powerful inspiration stems from how families navigate trauma, grief, and loss.

It stems from how investigators handle dark situations and dark people in a delicate balance of empathy and objectivity.

It stems from seeing how a community responds when something disrupts its sense of safety.

My mission as a storyteller has always been to shed light and hope into the darker recesses of human experience.

Growing up as a coroner’s daughter gave me early exposure to those recesses. Writing allows me to explore them and provide the anecdotes of hope and redemption and resolution.

It’s Never the Body

Why do we love this genre?

Because we care more about the person who lived and loved, than the dead body they become.

We fight to preserve their legacy. We fight to remember the good they gave the world. We fight to restore dignity when violence has stripped it away.

Whether in real life death investigation or in crime fiction, the ultimate question is the same.

Did this life matter?

The answer is always yes.

That’s why certain cases linger.

That’s why investigators keep pushing.

That’s why readers turn pages late into the night.

Behind every autopsy report, every forensic detail, every courtroom proceeding, there is a living, human story.

These stories remind us that paying attention preserves human dignity and significance.

Perhaps that is the truest inheritance of being a coroner’s daughter.

Jennifer Dornbush is an author, screenwriter, and forensic specialist who brings crime stories to life with authenticity and heart. With a background rooted in real-world forensics and a passion for crafting unforgettable mysteries, Jennifer offers readers and viewers a front-row seat to the intersection of science, justice, and human nature.Jennifer’s crime expertise has made her a sought-after speaker, consultant, and educator. Through her webinars and master courses, Jennifer guides writers in melding suspenseful storytelling with forensic realism to the screen and page. Meet her at www.jenniferdornbush.com

Forensic Genetic Genealogy: A Crime Writer’s Field Guide

Marcia King’s mother kept the same telephone number for thirty-seven years.

She kept the same house in Arkansas. She didn’t move. She didn’t disconnect. Marcia had hitchhiked out of town in 1980 and stopped calling, and her mother — like every mother in this position has done since the invention of the telephone — left the line open in case her daughter ever picked up on the other end.

In April of 2018, the call finally came.

It wasn’t Marcia.

It was the Miami County Sheriff’s Office in Troy, Ohio, telling a woman who had waited almost four decades that the unidentified body found beside Greenlee Road on April 28, 1981 — the young woman the press had nicknamed Buckskin Girl for the fringed leather poncho she had been wearing — was her daughter. Twenty-one years old. Strangled and beaten. Buried under a headstone that simply said Jane Doe.

The case had not been solved. Her killer was, and remains, unknown. But her name had come back.

Marcia King’s identification was the first cold case ever solved by forensic genetic genealogy. A blood sample preserved in an unrefrigerated tube since 1981 was processed, uploaded to the public genealogy database GEDmatch, and matched within four hours of computer searching to a first cousin once removed. A team of volunteer genealogists at the newly founded DNA Doe Project built the tree out from there. Two weeks later, a mother in Arkansas got the call.

Three weeks after that, on April 24, 2018, a 72-year-old former police officer named Joseph James DeAngelo was arrested in his front yard in Citrus Heights, California. The Golden State Killer. Caught the same way: GEDmatch, family tree, candidate identified, confirmation DNA pulled from his trash. I remember standing with my cohorts from the Los Angeles Forensic Science Academy and talking about this case and the validity of using discarded DNA and familial DNA databases to find criminals. It was walking a fine legal line at the time.

This case began a change in the way cold case investigations worked in the U.S.

Eventually, it seeped its way into crime fiction. I tackled the topic a few years ago when writing What Darkness Does.

If you write the genre, you can no longer write around forensic genetic genealogy. And if you’re going to write it, you have to write it right.

Why This Matters for Crime Writers

Cold case fiction used to live in a forgiving place. The case had gone cold because the science of the era couldn’t read the evidence. Your investigator’s job was to be present-day-clever about a past-tense problem.

Forensic Investigative Genetic Genealogy (FIGG) moves the goalposts. Evidence that was useless for forty years is suddenly usable and trackable. Crimes from the 1970s, 80s, and 90s are now solvable in ways the original detectives couldn’t have imagined. Hundreds of cases have been resolved this way since 2018. The U.S. Department of Justice issued formal policy on its use in 2019. CRC Press is releasing the first comprehensive practitioner’s guide to FIGG this month.

That’s not a problem for fiction. It’s a gift. Forensic genetic genealogy gives you a mechanism that finally works the way readers want a cold case to work — the past speaking, after years of silence — without the cheap rescue of a deathbed confession or a buried diary in the attic.

It only works on the page if you understand what FIGG actually does, what it doesn’t do, and where the writer’s instinct toward speed and tidiness is going to trip you up.

What Forensic Genetic Genealogy Actually Is

Plain English: FIGG combines DNA recovered from a crime scene with consumer genetic genealogy databases — places like GEDmatch and FamilyTreeDNA — to find relatives of an unknown suspect or an unknown victim. A forensic genealogist uses those matches to build a family tree backward and outward until the tree narrows to one viable candidate.

That candidate is a lead. Not a defendant. Not a confirmed suspect. Just a lead.

For a suspect-identification match, investigators then need to collect what is called a surreptitious sample. This is typcially an abandoned or discarded source of DNA sample — for instance a coffee cup, a water bottle, a tissue from a public trash can. This is legal if the sample is taken from public domain. That sample is then tested and compared against the original DNA profile from the case at hand.

For a victim-identification case like Marcia King’s, a relative agrees to give a confirmation DNA sample, and the unknown person becomes a known person again.

Two distinctions matter for fiction.

FIGG is not CODIS. The Combined DNA Index System is the federal database of DNA profiles from convicted offenders, arrestees, and unsolved crime scenes. CODIS hits when your suspect is already in the system. Forensic genetic genealogy works when they aren’t. That distinction is the whole point of the technique. A writer who collapses the two will lose any reader who has paid attention to the last six years of true crime.

FIGG isn’t fast. The lab work to generate a sequenceable profile from old, often degraded evidence takes weeks to months. The genealogy work that follows takes even more time. Difficult cases take months. The famously hard ones take a year or longer. The science moves quickly. The genealogy is patient, careful, and slow.

Where Crime Writers Are Getting It Wrong

After watching the field for the last several years, here are the misnomers that show up most often regarding FIGG.

The instant match. A writer’s investigator submits DNA on Tuesday and gets a name on Wednesday. In the real world, even Marcia King’s case — which made a hit in only four hours of searching — had been preceded by weeks of lab work to extract usable DNA from a 1981 blood sample most labs had already given up on. We have to compress the timeline some, but compress the timeline that much and you lose the texture that makes cold case fiction interesting in the first place.

Skipping the confirmation step. A FIGG match is a candidate. It’s not legal proof. The story doesn’t move from genealogy hit to courtroom. It moves from genealogy hit to a separate, traditional confirmation DNA sample, almost always from something the suspect discarded in public domain. A writer who skips this step is writing a case that wouldn’t survive the first defense motion.

Using the wrong databases. Since the 2019 DOJ policy, U.S. law enforcement is restricted to genealogy databases where users have explicitly opted in to law enforcement matching. That means GEDmatch (with the right setting) and FamilyTreeDNA. It does not mean Ancestry. It does not mean 23andMe. Those companies have refused law enforcement access. A writer who has investigators pulling matches from Ancestry is writing a scene that gets the case thrown out.

Treating the genealogist as scenery. Forensic genetic genealogy is not done by detectives. It’s done by trained genealogists. Not sworn officers of the law. Many of them are civilians. Some of them are former hobbyists who turned professional after the Golden State Killer breakthrough. They are the people who actually build the tree. If your manuscript is about a cold case solved by FIGG and there is no genealogist in the story, you need to go back and add them.

Ignoring the ethical layer. Real investigators, real prosecutors, and real defense attorneys are arguing about FIGG every day. About consent. About whose DNA gets used. About what happens when one family member’s spit kit puts their cousin in prison. That tension belongs in your fiction. It’s exactly the kind of moral territory crime writers were made for.

How I Used FIGG In What Darkness Does

In What Darkness Does, a fourteen-year-old named Flora finds a bone in the woods.

Flora is sharp, stubborn, and exactly the kind of kid who doesn’t let go of a question once it’s in her teeth. The bone goes to a forensic anthropologist, Dr. Samantha Eckhardt, at the University of Michigan. Dr. Eckhardt invites Flora to a two-day workshop where she’ll learn how to use forensic genetic genealogy to try to give the bone a name.

I wrote the workshop scenes carefully. I gave Dr. Eckhardt a line I want every crime writer to internalize before they write a single FIGG scene of their own:

I want you to have realistic expectations. You may not leave here today with a candidate lead.

That’s the whole field guide in one sentence. Realistic expectations. Maybe not today.

One scene I love in that storyline isn’t the moment Flora gets a DNA hit. It’s the scene where her aunt, Emily Hartford, comes back to the lab after a break and finds Flora hunched over the keyboard, fingers moving fast, eyes locked on the screen, refusing to come up for air. Emily asks if she wants a snack. Flora doesn’t hear her. Emily asks again.

Without looking up, Flora answers: What if this were your child or sibling or best friend who had gone missing, never to be heard from again? Wouldn’t you want to know as soon as possible?

That’s the heartbeat of FIGG.

The drama isn’t the technology. The drama is the moral urgency the technology gives a fourteen-year-old at a keyboard, condensed into a single sentence by a kid who has only just learned what the work costs.

Flora’s storyline didn’t come from nowhere. It came from a real program at Ramapo College in New Jersey, the same one I credit in the back of the book — Ramapo runs an investigative genetic genealogy boot camp, and the youngest person ever to help resolve a case using IGG was a high school student who took part in it. The classrooms are real. The cases are real. The kids are real.

What I needed Flora to model — and what I want every crime writer to take with them — is that FIGG is not glamorous. It’s tedious, careful, full of stretches where the only thing happening on the page is a person staring at a screen.

The drama lives in the patience. But the reward is worth the wait. And to illustrate this I stretched Flora’s FIGG storyline into book 6, Walking On White, releasing October 20, 2026. Flora will get her answers!

The Field Guide: FIGG Best Writing Practices

Practical things to do when forensic genetic genealogy enters your story.

  • Write the timeline honestly. Give the lab time. Give the family tree time. Let your investigator be frustrated by the wait. The slowness is the realism.
  • Write the genealogist as a character. Let them have a personality, a method, a doubt. Let your reader watch them work.
  • Show the confirmation DNA moment. The discarded coffee cup, the swab from a hospital, the cigarette in a parking lot. That’s the beat where the candidate becomes the suspect. Don’t skip it.
  • Use the right databases by name. FamilyTreeDNA. Mention the opt-in setting. Get this right and the readers who care will trust you on everything else.
  • Build the family tree onto the page. A scene where your detective sees a name three generations away from a killer and starts to feel the case shift — that’s a scene that didn’t exist in the genre until 2018. It’s yours to invent.
  • Let the candidate be a real person before they’re proven guilty. FIGG often surfaces ordinary people — fathers, neighbors, retired church deacons — whose DNA matched because their nephew did a Christmas-gift spit kit. Sit with that for a paragraph. The moral weight of the technique lives in that pause.
  • Don’t forget victim identification. Most crime fiction uses FIGG to catch killers. Marcia King’s case is a reminder that it also gives names back to the dead. A novel that works the missing person’s side of the technique has a clear field in front of it.

The Ethics Seam Writers Should Rip Into

When a great-aunt sends her DNA to a consumer genealogy site to find out where her ancestors came from, she is not consenting to a future case being made against her grandnephew. The chain of relationship is invisible, intimate, and one-way. She doesn’t know who she is implicating. She can’t know.

That’s the moral seam every crime writer working in this space should put pressure on. Not to take a side, necessarily — only to acknowledge that the technique that brings closure to one family creates exposure for another. A character who has thoughts about that is more interesting than one who doesn’t. A scene where a relative is told your DNA is the reason we found him is one of the rawest moments fiction can offer right now, and almost no one has written it well yet.

That could be you.

Why This Tool Earns Its Place in the Genre

The cases forensic genetic genealogy has solved are the cases that broke families for decades. Children waited their whole adult lives to learn who killed their mothers. Parents died not knowing what had happened to their daughters. The technique can’t undo any of that. It doesn’t give back the years.

What it does is end the unknowing. And the unknowing, as I have written before, is the part of grief no one survives well.

In April of 2018, a mother in Arkansas finally got an answer about a daughter she had never stopped waiting for. The headstone in Riverside Cemetery in Troy, Ohio, that had said Jane Doe for thirty-seven years got a name carved into it: Marcia Lenore Sossoman King. The murder is still open. The killer hasn’t been caught. But Marcia is no longer Buckskin Girl. She is herself again, in death, the way she was in life.

Every crime writer who writes in cold case territory is, in some sense, writing toward that exact moment — the unknowing that finally breaks. FIGG deserves a place in crime fiction. It deserves to be written without shortcuts. It deserves to be written by people who understand that the truth at the end of the family tree belongs first to the family of the victim.

Get the science and technique right. Get the genealogy right. Get the long process right.

The story takes care of itself from there.

Want more on writing forensics that actually holds up? My Crime Writer’s Toolkit and the Master Crime Writing Course at forensicspeak.com walk through the procedures, evidence types, and craft principles that separate the novels readers trust from the ones they put down on page forty.

Jennifer Dornbush is an author, screenwriter, and forensic specialist who brings crime stories to life with authenticity and heart. With a background rooted in real-world forensics and a passion for crafting unforgettable mysteries, Jennifer offers readers and viewers a front-row seat to the intersection of science, justice, and human nature. Jennifer’s crime expertise has made her a sought-after speaker, consultant, and educator. Through her webinars and master courses, Jennifer guides writers in melding suspenseful storytelling with forensic realism to the screen and page. Meet her at www.jenniferdornbush.com

Sources

Social Networking Showdown

by Michelle Gagnon

At Left Coast Crime a few weeks ago, I was part of a great panel on utilizing the Internet to market your book. This is a bit of a double-edged sword: now that much of the marketing burden falls on authors’ shoulders, being able to reach people without an insanely expensive direct mailing is invaluable. However, online networking can also become a tremendous time suck, drawing valuable hours away from what writers should primarily focus on: their manuscripts. Today I’ll discuss which sites I’ve found most valuable in a head-to-head match up, as well as sharing how I stay on top of them without losing my mind.

facebookFacebook vs. MySpace

I confess to being one of the “old people who joined up and ruined Facebook.” I now have more than a thousand friends, and probably post something to the page once or twice a week. I’m also on MySpace, but have found Facebook to be far more user-friendly to someone as technologically challenged as myself. (However, if I was working on a YA novel, MySpace would probably be where I devoted more of my focus). A couple of things to bear in mind when using these or other social networking sites:

  • Public vs. Private: I keep my pages public, and will friend anyone who asks. So anything that’s truly personal, such as family photos, etc, doesn’t get posted there. And if anyone tags me or mine in such a photo, I immediately remove the tag. myspace
  • In order to maintain my sanity, I go onto each site once a week (Facebook on Mondays, MySpace on Tuesdays). That’s when I accept friends, answer emails, and respond to comments. If I stumble across an interesting article online, I have the “share on facebook” tab incorporated into my browser, which makes it oh-so-easy to post it to my page (another clear benefit of Facebook over MySpace).
  • The cocktail party rule: I rarely post anything political on any of my pages. Again, this is a matter of personal preference, but I would rather discuss my books or interesting developments in publishing than who I voted for.

Shelfari vs. GoodReads

shelfari The trick to these is joining groups that read books similar to yours. I’ve generally found Shelfari to be more useful, although I do get updates from GoodReads discussions as well. The Shelfari groups just seem to more active, especially the “Suspense/Thrillers” one, which graciously invited me to lead a discussion of Boneyard last August. Every so often I’ll remember to log in and update my home page with the books I’ve read recently.

  • One caveat: if I don’t like a book, I don’t review it, period. Other authors have no problem posting negative reviews, so it’s largely a matter of personal goodreads preference. But I know authors whose feelings were hurt when one of their peers negatively reviewed their book on these sites, and figure it’s better to follow the, “if you can’t say something nice, don’t say anything at all” rule. The crime fiction writing community is a small one, filled with people who possess an encyclopedic knowledge base of how to kill someone and get away with it. Bear that in mind when you’re considering giving a book one star out of five.
  • I join in whenever people are discussing a book I really enjoyed, or an author whose work I admired. After all, I’m a reader as well as a writer.
  • Be careful in how you participate. When someone I’ve never heard of joins one of the discussions and proceeds to blatantly flog their own work, it’s a huge turn off. Probably better not to participate than to do that. This isn’t to say that you should never mention your book- but other members will be more receptive if you’re someone they’re already familiar with.

Twitter

twitter I’m not a big tweeter. I post links to my Kill Zone posts (and guest posts,) and occasionally link to articles or posts that I found interesting, but I simply don’t have time to announce what I had for lunch every day.

siamese Crimespace et al

I know other crime fiction authors love Crimespace, but I haven’t used it much. Most of the Ning circles (and I’m part of five) don’t seem very active to me. This could be my own failing- I find them challenging to navigate, and frankly my other pages are so easier I forget about these. Same goes for Gather, Bebo, Linked In, etc. You might have better luck. If you write books with a Siamese Cat sleuth, and there’s a Siamese cat appreciation group on one of the social networks, by all means take advantage.

Newsletters:

I have a pet peeve. Say we met at a conference and chatted about marketing. I offered to continue the discussion by email. Then, I find myself getting a deluge of newsletters from you, none of which I signed up for. Or worse yet, you mined my email address from a mass email sent by a mutual friend (note: always bcc people on those emails). This has happened to me more times than I can count. DO NOT add people to your newsletter unless they have specifically asked to be included. Have a sign up sheet on your website, and make it easy for people to unsubscribe.

And that’s my two cents. So what have the rest of you found to be useful? Any tips to share?