Criminal Mischief: The Art and Science of Crime Fiction

Most corpses that are the victims of foul play are easily identified because they’re found in familiar places and reported by folks who knew them. But those found in remote or odd places with no ID create problems for investigators. In these cases, identifying the corpse is a critical step in solving the case.

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In the remote past, most poisoners favored botanical products such as hemlock, oleander, deadly nightshade, foxglove, hellebore, monkshood, opium, and many others. These were easily available and untraceable. More recently, various chemicals have been added to this long list of plant-based poisons, which has made the work of the toxicologist that much more difficult.

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The biggest problem facing the toxicologist is that there are literally thousands of drugs and chemicals that are harmful, addictive, or lethal if ingested, injected, or inhaled. Some even absorb directly through the skin. Toxicological testing is time-consuming and expensive, and few, if any, labs can afford to perform such testing on every case. For this reason, the testing must be as focused as possible.

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This is the first in a 3-part series on Forensic Toxicology

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Some criminals attempt to destroy corpses, the primary pieces of evidence in homicides. They think that if the police never find the body, they can’t be convicted. This isn’t true, since convictions have in many cases been obtained when no body is found. And destroying a body is no easy task.

If Locard’s Exchange Principle is the cornerstone of forensic science, evidence is the heart and soul of the crime lab. Indeed, evidence is the sole reason it exists. Without evidence, what would the lab do? Evidence is used to determine if a crime has been committed, to link a suspect to a scene, to corroborate or refute an alibi or statement, to identify a perpetrator or victim, to exonerate the innocent, to induce a confession, and to direct further investigation.

SKIN IN THE GAME is the first story in my new Cain/Harper thriller series:

Raised as siblings by an itinerant “gypsy” family, knife expert Bobby Cain, trained by the US military in the lethal art of covert eliminations, and Harper McCoy, nurtured by the US Navy and the CIA to run black ops and wage psychological warfare, are now civilians. Of a sort. Employing the skills learned from the “family” and their training, they now fix the unfixable. Case in point: Retired General William Kessler hires the duo to track down his missing granddaughter, a Vanderbilt University co-ed. Their search leads them to a small, bucolic, lake-side town in central Tennessee and into a world of prostitution, human trafficking, and serial murder. The question then becomes: Will their considerable skills be enough for Cain and Harper to save the young woman, and themselves, from a sociopath with “home field” advantage, a hunter’s skills, and his own deeply disturbing agenda?

What is a MacGuffin? Since Alfred Hitchcock coined the term, his definition—such as it is—might be best:

“The main thing I’ve learned over the years is that the MacGuffin is nothing. I’m convinced of this, but I find it difficult to prove it to others.”

By simply typing the blood at a crime scene, investigators narrow their suspect list and completely exonerate some suspects by using the population distribution information for the four ABO blood types.

Here’s the thing about the South—if you can’t tell a story, they won’t feed you. They’ll simply deposit you behind the barn and let you wither away. That doesn’t happen often because everyone down there can spin a yarn. Some better than others, but a story is a story. This is a rich tradition and congers up names like William Faulkner, James Dickey, Eudora Welty, Flannery O’Conner, Tennessee Williams, Mark Twain, Harper Lee, Truman Capote (who spent much of his childhood in Alabama), James Lee Burke, and the list goes on and on.