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

Digital Detectives: The Role of Cyber Forensics in Modern Crime Stories

By Jennifer Graeser Dornbush

When I was growing up, evidence meant fingerprints, fibers, and blood spatter.
Today, we also find enormous amounts of evidence in our digital prints: browser histories, cell phone pings, and metadata buried in a cloud server halfway around the world.

Crime scenes have a giant presence online.

I’ve spent years learning how investigators read the physical world for truth. But in the last decade, a new kind of evidence has changed everything. The next big clue isn’t under a microscope, it’s inside a smartphone.

For storytellers, that shift opens an entirely new frontier. If you’re writing crime fiction and ignoring digital forensics, you’re leaving some of your richest material untapped. But it’s also tricky because what we “watch” or “observe” on a screen isn’t very action-focused as a plot line.

Today, we’re stepping into the world of cyber forensics and how to use this evidence in your next crime fiction.

What Is Cyber Forensics?

In the simplest terms, cyber or digital forensics is the process of identifying, preserving, analyzing, and presenting data from electronic devices in a way that stands up in court.

If traditional forensics examines fingerprints and fibers, digital forensics examines pixels and packets, the trails left by our phones, laptops, GPS units, and cloud accounts.

The real-world process

When a device is seized, investigators create a “forensic image,” a bit-by-bit copy that captures everything: deleted files, timestamps, cached data, and metadata. That image becomes the foundation for analysis. Information Analysts then use specialized software to reconstruct timelines, recover communications, and verify authenticity of an individual’s usage.

Every action is documented to maintain the chain of custody and keep evidence tracked, secure, and court-admissible.

Digital forensics branches into specialties:

●      Computer forensics – analyzing desktops and hard drives.

●      Mobile forensics – recovering data from phones, tablets, and wearables.

●      Network forensics – tracking online traffic, hacking, and IP traces.

●      Cloud forensics – locating and authenticating data stored on remote servers.

The process may sound technical, but at its heart, it’s still detective work. Each byte is a breadcrumb, and every breadcrumb tracks a trail where a criminal or victim has been.

Where Digital Evidence Hides

A great mystery writer knows how to hide a clue in plain sight. The same is true of digital evidence.

1. Smartphones

Modern phones are portable black boxes. They store call logs, texts, deleted images, app data, GPS trails, and even sensor information that can pinpoint motion and location. In fiction, a single recovered text or photo can flip a plot.

Example: A victim’s fitness app records 200 extra steps at 2 a.m. proof she was still alive hours after the suspect claimed she was dead.

2. Laptops and Cloud Storage

Documents, emails, cached passwords, and file-creation times often reveal motive or premeditation. Cloud backups extend that reach: deleting something locally rarely means it’s gone.

3. Social Media and Messaging Apps

Posts, private messages, likes, and geotags create a map of a suspect’s or victim’s personal life. For writers, social platforms can expose contradictions: the killer who posts a cheerful vacation photo minutes after committing a crime. The victim who texted an irate boyfriend before disappearing.

4. Smart Devices

Doorbell cameras, smart speakers, thermostats, and watches all record direct evidence of where a victim or criminal has been. Investigators now recover voices, motion data, even room temperatures to build timelines.

5. The Digital Silence

Sometimes what isn’t there matters most, a phone suddenly powered off, an erased drive, an hour missing from security footage. In storytelling, absence of evidence can shout louder than its presence.

Every byte is a witness; the challenge is deciding which ones are telling the truth.

Turning Data into Drama

As a writer I often worry that using too much digital forensics bogs my story down, makes it uninteresting, or relies on telling instead of showing. After all, we want our characters in action. And watching someone stare at a screen or pick through files is very passive and very boring.

The secret to treating digital discovery is to use as little exposition as possible– sometimes you have to describe video footage or a computer file. Where we can get the most punch is when we use digital evidence as revelation… aka: a turning point in the plot. The found digital evidence can be a small, medium, or big turning point. But it has to count as something that shifts the plot investigation in a new direction.

●      Anchor the data to emotion. A recovered voicemail is about the message, but also the emotional meaning to the person who hears it.

●      Pace the reveal. Instead of unloading a list of findings, let information surface gradually, each clue raising new questions.

●      Show the cost. What does it feel like to invade a victim’s inbox or scroll through a dead child’s messages? Use sensory detail to humanize the act of investigation as the investigator is uncovering the evidence.

●      Avoid jargon overload. Let characters translate for the reader: “The timestamp’s off. Someone changed it.” That’s all you need. Unless your character is a digital analyst. Then, lean into the jargon as part of her character

The Emotional Edge

Behind every password and pixel is a person. And humans are driven by emotion. Use that in writing. Here’s how:
Bringing Humanity to the Data

The best crime stories are seeded in motive. Digital evidence should never replace emotion; it should reveal it.

●      A deleted text exposes regret.

●      A GPS trail shows obsession.

●      A search history lays bare guilt.

●      A detective scrolls through a suspect’s messages, what do they feel? Curiosity? Pity? Revulsion?

●      Think of each digital discovery as a confession waiting to be interpreted.

●      What is a detective’s reaction when she hacks into a victim’s private photos?

●      What happens when a journalist exposes data meant to stay sealed?

●      How do loved ones feel when a phone becomes evidence instead of memory?

Use emotional reactions of characters to heighten empathy, build the plot, and ratchet up suspense as they uncover a digital footprint.

Realism Without the Textbook

You don’t need to be a hacker to write digital authenticity. You just need to understand procedure and respect accuracy.

Start with credible sources

●      The U.S. Department of Justice’s Digital Evidence Guide outlines best practices for law enforcement.

●      The National Institute of Standards and Technology (NIST) publishes clear, publicly available frameworks.

●      The FBI Cyber Division offers summaries of current threats and tools.

●      Podcasts such as Darknet Diaries or The Forensic Lunch reveal real cases in accessible language.

Write lean

A single correct detail is worth more than pages of exposition. If you know what a “write-blocker” or “hash value” is, mention it once to show expertise, then move on. An easy hack for this is to have the digital expert character explain it to a non-techie character.

Consult real experts

A quick interview with a local cyber-crime investigator can provide nuances no textbook will, tone, pressure, emotional toll.

Authenticity doesn’t come from showing off what you know. It comes from knowing just enough to stay believable.

The Digital Detective

Every generation of investigators develops new instincts. The digital detective, whether real or fictional, reads data like body language.

They’re patient, analytical, and often brilliant. They see patterns others miss. But make sure yours is more than a brain behind a keyboard.

Give them the full range of character depth:

●      A cyber expert who still keeps notes by hand.

●      A genius coder who’s terrible at reading people.

●      A hacker turned consultant wrestling with guilt.

Common Mistakes to Avoid

1.     Tech magic. Don’t let characters “trace the IP in seconds” or “hack the Pentagon before lunch.” Real analysis takes time, warrants, and patience.

2.     One-click evidence. Data rarely tells a single truth. Circumstantial evidence here requires that investigators put all together all the evidence to create a line of reasoning that leads to a single suspect.

3.     Static scenes. Fiction can quickly turn into non-fiction with digital evidence trails. But no one wants to read computer analysis. BORING! Keep it quick, fast, and show how data changes the direction of plot.

4.     Outdated references. Technology evolves fast. Double-check that the apps, devices, and terminology in your story still exist.

5.     Emotionless experts. Readers connect to people, not software. Give your digital detectives personal reactions to what they discover.

The Forensic Thread

When I teach writing workshops, I remind authors that fictional forensics is about culling what is possible, not what isprobable. Whatever thread you pull on doesn’t have to be probable. It only has to be possible. Have fun with evidence and technology! Be inventive!

In my own fiction, I use cyber forensics the way I use autopsies, not for shock value, but to reveal truth. A recovered email can carry much emotional weight when it’s tied to character and motive.

Science gives us technology; humanity gives us connection. When you use cyber forensics, balance both.

The Future of Digital Crime

The frontier keeps expanding. Artificial intelligence can now detect manipulated images and generate false ones. Blockchain records are being introduced as tamper-proof evidence. Entire crime scenes can be reconstructed in virtual reality.

That evolution is thrilling for real life investigators… as much as it is for storytellers. Imagine writing a case where the killer uses deepfakes to create an alibi, or where investigators chase a suspect across multiple metaverses in VR.

But beneath the technology, the essential human question never changes: Why?

Technology will always change how crimes can be carried out… and solved. The corruption of human heart will always determine motive. And motive will always be the pulse of every great crime story.

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

Black Widow

Today I welcome back to TKZ my friend and fellow ITW member, Lisa Black. Lisa has one of the most unique day jobs, especially for a suspense writer. As she likes to describe it, she spent the five happiest years of her life in a morgue. She was a forensic scientist in the Cleveland coroner’s office where she analyzed gunshot residue on hands and clothing, hairs, fibers, paint, glass, DNA, blood and many other forms of trace evidence, as well as crime scenes. Now she’s a certified latent print examiner and CSI for the Cape Coral Police Department in Florida. Her books have been translated into six languages and one reached the New York Times mass market bestseller’s list.

I asked Lisa if any of her experience developed into a story and she related one of her first published works to me. She wouldn’t tell me where it was published, only that it was in one of those “sleazy true detective magazines” back in the day. Enjoy!
Joe Moore

——————–

Yet another case of a mild-mannered, suburban murdering mom

I wanted to write true crime before I even got into forensics. But since only the military had an internet back then, I had to find stories to Lisa-photo-smallwrite about the old-fashioned way, via the library and newspaper indexes and microfilm and this wonderful window at the Justice Center where they had to give you copies of the basic dispositions of court cases (public record, after all). And one of the first stories I chose was the mundane yet chilling tale of Terri Sramek.

One summer night Terri called the Middleburg Heights police to tell them that she had returned from church to find her husband, William Sramek, gone. There were no signs of disturbance and nothing missing from the house. She went on all four local channels to plead for information. A MHPD detective happened to catch the news and immediately sensed that something was off about Terri Sramek. She just didn’t add up.

The case had indeed been assigned to him, and he promptly received a call from an FBI agent who knew nothing about William Sramek but a lot about Terri. The detective tried to follow his monologue: In Billings, Montana, Terri worked as an executive secretary for an insurance company which handled, among other things, the Miss Montana beauty pageant. Funds turned up missing. Terri and her boss invented a robbery and then even a new ledger, except for the wrong year. She pled multiple personality disorder but couldn’t fool the court and got 10 years, while telling one boyfriend she was actually in LA attending flight attendant school.

After her release she went right back to work—her type of work—for a Salt Lake law firm and met William Sramek. When the firm discovered $65K missing the couple moved to Cleveland. Terri found a job with a financial services firm…which then, somehow, lost $40K.

The FBI caught up with her on behalf of Utah, and she promptly went into the hospital with heart palpitations, though her doctor failed to back her up. But she was also pregnant, so Utah delayed enforcement of their warrant.

Now the Middleburg Heights detective found that Terri had been trying to sell William’s coins and responding to other men’s personal ads.

That didn’t sound good.

Exactly a week after he was reported missing, a police SWAT team searched the city surrounding the Sramek home. Rangers, the law enforcement body of the Cleveland Metropark system, searched the park areas on foot and on horseback.

The hunt lasted all day. They found nothing.

But Terri Sramek was arrested again, for not informing the probation authorities of her arrests. She didn’t know it yet, but she had just enjoyed her last day of freedom for a long, long time.

Salt Lake City reinstated the charges.

Then, in the middle of August, a birdwatcher pursued a bundle of plumage into some tall grass and found a decomposing body. The skull had lost almost all its flesh and had bullet holes in its base and forehead.

Terri’s lawyer, accompanied by the victim’s family’s private investigator, went to see her in jail.

For reasons known only to herself, Terri Sramek told the two men that she had indeed shot her husband. When William suggested they go for a walk in the park, she slipped a new .38-caliber automatic into her purse, next to a bottle of baby formula. They strolled through the pretty parks and argued about money. Then, with their baby strapped to her chest, Terri shot her husband in the head and face and left him to the elements.

The baby did not cry, Terri insisted—an unusual reaction for an infant—and Terri set off to dispose of the murder weapon.

The PI told the MHPD about this confession and they told the Rangers. Their turf, their murder.

The ranger looked at Terri Sramek and felt no sympathy for someone who could put her kid in a baby carrier and then kill the little girl’s father, leaving him where he lay so that weeks later the cops would have to spoon through his bodily fluids just to recover his teeth. The ice in her veins reminded him of the movie Black Widow, in which the character played by Theresa Russell researched and wooed rich men in order to kill them, carefully covering her tracks each time. She mates, then she kills.

In an interview the Montana detective also mentioned the movie, though it hadn’t even been made when he knew her.

In jail, tearfully, hesitantly, delicately, Terri Sramek promised to cooperate. She told them that she had thrown the gun in the water while walking along the lake shoreline somewhere around Huron.

But meanwhile, yet another suburb’s PD conducted a diver training exercise. They began at a beach but weather conditions were so ideal that they moved to the Rocky River, where what looked like a human hand startled one of the divers. It turned out to be a rubber glove containing a .38 caliber revolver. Zebra mussels, the scourge of the Great Lakes, had not yet attached themselves to its surface. They sent out a “gun found” teletype, which neither MHPD nor the Rangers received, but the head diver had read about the Ranger’s search for a gun in the paper; he told a Cleveland homicide cop who happened to be a friend of the ranger. Almost simultaneously both men called the ranger. The dive team then found more bullets, and Ohio BCI recovered the scraped-off serial number. It led to a gun store and a receipt made out to Terri Sramek.

Huron, incidentally, sits on Lake Erie about fifty miles to the west of the rivers of Rocky River. Even her confession came out half lies.

Terri skated on the embezzlement charges, cut her losses and pled, getting fifteen years to life.

She is still in jail.

When we invent villains for our books, we usually make them ingeniously clever, meticulous planners. They cross every t, dot every i, are voraciously ruthless. But the scariest killers are the real ones, the ones who aren’t criminal masterminds but making it up as they go along, the ones who have jobs and children and do dishes. The ones who seem as ordinary as white bread and yet feel entitled to take what isn’t theirs—including someone else’s life.

They’re the really scary ones.

—————-

Lisa Black’s latest thriller is CLOSE TO THE BONE, a story that hits forensic scientist Theresa MacLean where it hurts, bringing death and destruction to the one place where she should feel the most safe—the medical examiner’s office in Cleveland, Ohio, where close to the bone 1she has worked for the past fifteen years of her life. Theresa returns in the wee hours after working a routine crime scene, only to find the body of one of her deskmen slowly cooling with the word “Confess” written in his blood. His partner is missing and presumed guilty, but Theresa isn’t so sure. The body count begins to rise but for once these victims aren’t strangers—they are Theresa’s friends and colleagues, and everyone in the building, herself included, has a place on the hit list. Visit http://www.lisa-black.com/

Can you really be desensitized to violence?

by Michelle Gagnon

During the Left Coast Crime Conference a few weeks ago, I attended, “Forensic Science Day.” We were images-5.jpgpromised that the “California Forensic Science Institute (CFSI) and the Crime Lab Project (CLP) would provide expert speakers and programming.”

And let me tell you, they weren’t kidding.

The eight hour event included a tour of the Hertzberg-Davis Forensic Science Center on the CSU Los Angeles campus, a lab which serves the LAPD and the LA Sheriff’s Department.

It kicked off with Don Johnson (not the one of Miami Vice fame-although he was wearing a pastel shirt) from the school of Criminal Justice and Criminalistics walking us through a quadruple homicide as it was initially encountered by the CSI team. Which meant dozens of photos of the victims as they were found, in addition to the trail of carnage through their house which gave you an extremely clear picture of the attack and how it proceeded. It wasn’t pleasant.

Now, I watch a lot of procedural shows on television-not CSI, because frankly I think it’s just silly. But the Law and Order franchise, The Closer, Southland, and in the past The Wire and The Shield. I’m no stranger to graphic depictions of violence. And what we were seeing was still photos, not video. images-4.jpg

Yet what really struck me was how when it comes down to it, there is a difference between a fictionalized vs. a real crime scene. I had expected to be somewhat desensitized, but somehow knowing that what we were seeing had really happened, that these were real victims who weren’t going to get up and walk away, made it almost too much to stomach. It didn’t help that two of the victims were an elderly disabled woman and a four year-old girl. During their close-ups, I almost had to leave the room.

images-3.jpgIn the course of researching serial killers a few years ago, I experienced something similar. It doesn’t matter how many times you’ve sat through “Silence of the Lambs,” or movies of that ilk. When I read about some of the things that serial killers had actually done to their victims, it was a gut punch. Some of the stories were so horrible it took weeks to get them out of my head. There were things I encountered that honestly I wish I’d never seen- and those of you who have read my books know that I don’t shy away from violent crime. So it surprised me to have such a strong reaction.

Since Columbine there’s been a lot of discussion regarding whether the violence on TV, in movies, and in video games has desensitized kids to a point where they’re more liable to commit violence in real life. I himages-2.jpgave to wonder, based on my reaction to that quadruple homicide scene. Is it true that for some people, the line between truth and fiction has become blurred? Or would a kid hooked on Grand Theft Auto have the same reaction I did to images from a real crime scene? I suspect that for the most part, they would. What do you think?

On a side note, the rest of the day was very cool. A trace evidence specialist led us through the Phil images-1.jpg Spector case (which, oddly enough, wasn’t nearly as disturbing. But then, what happened to Lana Clarkson wasn’t as terrible as what was done to that little girl). We also had a fantastic presentation from a “Questioned Documents” examiner who explained exactly how easy it is to forge a signature, and what to do to combat that (sign your name over itself 2-3 times) and we toured the labs, including the rooms that hold stainless steel water tanks where guns are fired to match ballistics from crime scenes. Very cool. More information on the lab and the Crime Lab project is available here.