How to Survive a Public Reading

This past Thursday, I took part in an event sponsored by the Crime Writers of Canada. Twelve local crime writers read from their novels at a large Indigo bookstore in Toronto as part of the Arthur Ellis Shortlist Events, celebrating the best in Canadian crime writing.

For many authors, the thought of doing a public reading makes them weak in the knees. Confession—I’m definitely one of these authors. I prefer to hide behind my keyboard rather than actually come out and talk about my work. But part of modern life as an author is interacting with readers, so we go out and do just that. And, honestly, meeting new readers is really fun. It’s just a matter of getting over the nerves of putting yourself out there.

So what can authors do to have a successful reading?

Don’t take yourself too seriously: If you stumble over a word or two, or flip one page too far, world peace isn’t at risk. Just laugh at yourself and move on.

Practice, practice, practice: Entertaining readers know how to work the text by adding intonation and pacing as they read, so practice what you’ll be reading ahead of time. Author Melodie Campbell, who read from her hilarious new novella, The Goddaughter’s Revenge, is a master at keeping the audience enthralled (and in stiches).

 

Make eye contact with members of the audience: Audiences prefer interaction with an author who doesn’t bury her nose in her book while she reads. Lisa De Nikolits, reading from The Witchdoctor’s Bones, connected wonderfully with the audience, drawing us into both her story and her love of Africa. Now, this doesn’t mean you have to memorize your material, but it is where the previous point comes in handy, allowing the time to look up occasionally because you already know where your sentence is going. If looking up to a room of strangers gives you the willies, ask someone you know to come along to be the safe person in the room and just read to them.

 

 

Try to use humour whenever possible: Following their reading, each author was asked why they write crime fiction. The often irreverent Rick Blechta, author of The Boom Room, replied that he wrote crime because he just wasn’t any good at romance, and whenever he wrote sex scenes, his wife laughed at them.

 

Use the opportunity to whet the audience’s appetite: A number of different authors used different methods to accomplish this goal. Gina Buonaguro, author of The Wolves of St. Peter’s, started at the very beginning of the story so the audience discovered the body of a drowned girl alongside the protagonist.

 

Cathy Astolfo used passages from Sweet Karoline to touch specifically on sections illustrating fascinating points of the protagonist’s psyche. From the moment Cathy started with ‘I met Ethan on the day that I killed Karoline’, the audience was hooked.

 

I always like to use an early turning point from Dead, Without a Stone to Tell It in my readings—what happens when you go looking for a murder victim and find a different one instead?

 

Leave the audience wanting more: If you want the audience to be intrigued enough to scoop up your latest release, leave them on a cliff-hanger. Rosemary McCracken wisely left the audience hanging with her excerpt from Black Water.

 

Thanks to all the immensely talented authors reading with me that night, as well as for the audience members who attended the event. A very good time was had by all!

I’m at Onmimytery News this week, talking about why I write crime fiction. Stop by to see why TV shows like Bones, CSI and NCIS inspired me to write forensics in the real world: Why Write Forensic Crime Fiction

Photo credit: Bradford Dunlop, Rob Brunet, and Tanis Mallow.

The eBook of A FLAME IN THE WIND OF DEATH Is Out!

Amazon has the hardcover version of A FLAME IN THE WIND OF DEATH listed for May 9th release, but we’re happy to announce that the ebook version is now available! So for those who are looking for instant gratification, you can find the Kindle version of book 3 of the Abbott and Lowell Forensic Mysteries for a cheap and cheerful $3.19: A FLAME IN THE WIND OF DEATH. If you'd like to wait for the hardcover version, Amazon currently has it for pre-order at nearly 40% off here. For Canadian readers, Chapters/Indigo is carrying the book online and in store. And if you’re thinking ‘Book 3? What happened to book 2?’, our series novella, NO ONE SEES ME ‘TIL I FALL, is available for Kindle here. There's still time to catch up if you've only read DEAD, WITHOUT A STONE TO TELL IT so far!

For those who are wondering if they’d like to try the novel Kirkus called ‘A tricky mystery rich in intriguing suspects and forensic detail’, here’s a sneak peek at the first chapter. Enjoy!

 

 

 

 

 

CHAPTER ONE:

      FIRE POINT

 

Fire Point: the temperature at which a fuel produces enough vapor so it continues to burn after ignition.

Sunday, 1:24 p.m.
Harborview Restaurant
Boston, Massachusetts

Sunlight sparkled in lightning-quick flashes on the open ocean as a lone black-backed gull soared on outstretched wings, motionless on the breeze. In the harbor, sailboats unfurled yards of canvas to the cool fall winds, while high above the water, the historic Customs House Tower stood watch over the busy port below.

Inside the restaurant, wide panels of sunlight fell across linen-draped tables set with china and silver. The air was fragrant with garlic and peppercorn as a low buzz of conversation filled the room, punctuated by bursts of laughter and the clatter of dishes.

“And then he jammed his gun in his pants to make a run for it. But while he was wedging it under his belt, it went off and he shot himself in the foot.” Leigh Abbott paused to sip her mimosa. “After that, the foot chase was pretty much a technicality, what with all the limping and whimpering.”

Matt Lowell chuckled as he set his knife and fork on the edge of his empty plate. “I shouldn’t be laughing, should I?”

“Because he’s a murder suspect?” One corner of her mouth tipped up in an almost reluctant smile. “Welcome to cop humor; it’s how we survive the job. This guy was a mistake waiting to happen from the second it occurred to him he could have the family business all to himself after his father died. He just needed to kill his brother to get it. He left a trail of clues a blindfolded rookie could follow.”

Matt’s smile slowly melted away, his face growing serious. “You deserve an easy case. After the last few weeks . . .”

His voice trailed off, but Leigh understood, even without words.

A Trooper First Class with the Massachusetts State Police, Leigh was a member of the Essex County Detective Unit, headquartered in Salem. When a single human bone was found in a coastal salt marsh the previous month, she’d approached Dr. Matthew Lowell in his capacity as a forensic anthropologist at Boston University to help identify the victim. What began with a single set of remains rapidly spiraled into ten murder victims, all dead at the hands of a man determined to see how far he could twist the human mind. Their teamwork solved the puzzle, but the case nearly cost them their lives. Mere weeks later, they’d joined forces again for their second case together, a chilling tale of trust gone horribly wrong.

“This case couldn’t have been more different,” Leigh stated. “You’re right—it was a welcome change of pace after Bradford. Still, I’m sorry I had to cancel dinner last week. Between court and this case—” She broke off as Matt covered her hand with his.

“Don’t worry about it. I understand the job takes priority sometimes. Besides, we traded dinner for Sunday brunch, so it all worked out.”

With a quick flick of his head, he shook his untrimmed dark hair out of his eyes, briefly exposing the thick ridge of scar tissue running into his hair from his temple.

At a sudden shriek, Leigh jerked her hand free, reaching for the weapon that normally rode her hip. But even as her fingers touched soft wool instead of hard metal, her body relaxed as she quickly assessed the harmless scene across the room where a young woman had knocked over a glass of red wine.

Leigh’s gaze drifted back to Matt to find his eyes fixed on her. “What?”

He sat with his elbows braced on the table, watching her over his steepled hands. “You can’t turn it off, can you? You can’t just go out socially and let it all go. Even when a case is closed.”

Embarrassed heat flushed her cheeks at his continued examination. “It’s not like it’s a switch you throw when the clock hits five. Cops are always on duty.” Stubbornness stiffened her spine and she met his gaze head on. “Apparently you can’t turn it off either. You’re studying me like I’m one of your bones.”

“Just trying to figure you out, that’s all.” Reaching out, Matt tucked a loose strand of hair behind her ear. As his hand pulled away, he ran his fingertips along the curve of her jaw in a subtle caress. “You’re an intriguing puzzle.”

Her eyes locked with his and her stomach gave a slow, sexy roll of anticipation at the heat in his expression. “No one’s ever called me ‘intriguing’ before.”

“I like to think of you as a gift that needs to be unwrapped one layer at a—” Matt frowned as a muffled ring came from the suit jacket draped over the back of his chair. “Sorry, I need to see who’s calling.”

Leigh’s senses instantly went on alert when he froze, his gaze fixed on the name of the caller displayed on-screen. “What is it? What’s wrong?”

“I think I have to take this.”

The edge in his voice made the back of her neck prickle in alarm. “Is it one of your students?”

“No, it’s the Massachusetts State Police.”

“Calling you?” The words burst out, cutting through the buzz of conversation around them. Leigh purposely lowered her voice when several heads turned in their direction. “Why are they calling you?”

“I’m as baffled as you are.” He answered the call. “Lowell.”

Leigh leaned forward, trying to catch any trace of the other end of the conversation.

Maddeningly, Matt relaxed back in his chair even as he cocked an eyebrow at her. “Sergeant Kepler, what a surprise,” he said into the phone.

Only her white-knuckled stranglehold on the edge of the table kept Leigh from leaping to her feet to listen in on why her superior officer was calling Matt. If it was something to do with the Bradford case, he’d have surely gone through her instead.

Matt was silent for a long time as he listened, his hazel eyes fixed on her. “This request comes straight from Dr. Rowe?”

Rowe? Someone had to be dead for the medical examiner to be involved, but the remains must be in bad shape if Rowe was personally requesting Matt’s expertise.

“Whose case is it?” Matt’s eyes suddenly went arctic-cold as his casual air of relaxation dropped away. “No.” The single word was whiplash sharp. “That’s exactly what I mean. I’m not working with him. If you and Rowe want me on this case, you need to transfer it to Trooper Abbott.”

Leigh recognized that stubborn tone; she’d run headlong into it several times—Matt was digging in his heels and wasn’t about to budge.

“Actually my request is quite logical,” he continued. “Trooper Abbott and I had a rough start, but we learned how to work together. She’s familiar now with how my lab operates, and she knows my students and how we process evidence. It would waste my time to have to train a new officer.” There was a pause, and Matt’s eyes narrowed to slits. “Those are my terms, Sergeant. If you want my help on the case, have Trooper Abbott call me with the details.” He abruptly ended the call, his expression grim.

“What was that about?” Leigh demanded.

“Kepler wants me to consult on another case. There’s been a fire in Salem in one of the historical shopping districts. You probably know it—Wharf Street? The body recovered is so badly burned that Rowe needs a forensic anthropologist. He asked for me specifically.”

“That’s no surprise—you work well together. But why do you need me?”

“It’s Morrison’s case,” Matt said shortly. His open palm slapped down on the table hard enough to rattle silver and crystal. “I’ve got the right guy, don’t I? Isn’t he the Neanderthal who gives you a hard time at the detective unit?”

Leigh let out a resigned sigh. “Yes. That’s him.” She met his eyes to be sure he understood without question. “Don’t interfere, Matt. I can handle him on my own.”

“I’m sure you can. But I’m not working with him. And that’s my call to make.”

“Look, you don’t have to—”

Her phone rang.

Matt crossed his arms over his chest, his eyebrows raised in challenge. “Better get that.”

Leigh pointed an accusing finger at him. “You stay quiet. Kepler doesn’t know we’re seeing each other. He wouldn’t approve of me—”

“Fraternizing with your consultant? Too damned bad.” When her glare threatened frostbite to delicate parts of his anatomy, he mimed locking his lips and tossing the imaginary key over his shoulder.

She rolled her eyes and answered the call. “Abbott. Yes, sir.” She slipped a hand into the breast pocket of her jacket, pulled out a notepad and pen, and scribbled quickly. “Yes, I know where that is. I’ll let him know and meet him there.” She clicked off and gestured to the waitress for the check. “Kepler’s pissed.”

“He’s used to giving orders, but he’s not used to someone refusing them.” Matt pulled his jacket off the chair and shrugged into it. “Look, I understand they need help, but I’ll be damned if I’m going to work shoulder-to-shoulder with Morrison. You and I, we’ve developed a rhythm. On top of that, you value my students. If I’m going to bring them into another case, I need to know they’ll be treated well. And I know you’ll work as hard as me to keep them safe.”

“You’re still thinking about the salt marsh.”

He bristled, his shoulders pulling tight and his mouth flattening into a thin line. “I took them into the field and they were shot at. They could have been killed.”

She lightly brushed her fingertips over the back of his hand. “We’ll keep them safe. Are you bringing them in now? Or do you want to see the site on your own first?”

“I’ll bring them in now. My students are familiar with the concepts of burned remains from class, but this will take them from theory to practice. To do that properly, they need to see the remains in situ. And the extra eyes will help.” He met her gaze. “Have you ever dealt with remains like this before?”

“No.”

“Then you need to be prepared. They can be horrific, both by sight and smell.”

She grimaced. “Thanks for the warning. Are your students going to be able to handle it?”

“They’ll be fine. They held up before, didn’t they?”

“They were great.” Leigh looked out over the harbor. Suddenly the day seemed so much darker than ten minutes ago. “I was really looking forward to getting out on the Charles this afternoon,” she said. “It’s the perfect fall day for it—not too cool and not so breezy that the water would be rough and I’d tip us.”

“If I can’t keep the boat upright, then I need to put in a lot more time at the oars. I promise I’ll take you out in the scull first chance we get.” The waitress approached but before Leigh could reach for the bill, Matt slid the young woman his credit card. When Leigh objected, he simply held up a silencing finger. “My treat. You’re not going to insist on splitting everything down the middle, are you?”

“No. But you shouldn’t have to pick up the check every time we go out. You paid the last time.”

“We’ve only been out a few times, so your representative sample is too small to be statistically significant. I chose this place and it’s not cheap, so I should pick up the tab. Also, I suspect a professor’s salary beats a cop’s, so it’s not fair to stick you with the check when I picked the expensive restaurant.”

She glared at him, but remained silent.

“As I thought. You get the next one, okay?” He tucked his card back into his wallet and stood. “Rowe must be using this as another demonstration. Will he still be there when we arrive?”

Leigh rose from her chair. “I’m not sure, but I’ll find out. He may not be able to stick around that long.”

“It’s a good thing we came in two cars. You head back now; I’ll go pick up my students. We’ll be there by two-fifteen or two-thirty at the latest. They’ll hold the scene until then?”

“Yes. When remains are found in a fire, it’s officially designated a crime scene and nothing gets moved until the crime scene techs and the ME get there. The techs are probably on their way right now.”

“Then let’s go.” He circled the table to lay his hand at the small of her back as they headed for the exit. “We’ve got a scene to process.”


For those in the Toronto area, please join me and eleven other authors from the Crime Writers of Canada for a reading at the Manulife Indigo (55 Bloor Street West) at 7pm as part of the Arthur Ellis Awards shortlist event. More details can be found on MC Nate Hendley’s blog: http://crimestory.wordpress.com/2014/04/14/crime-writers-read-at-april-24-event-in-toronto/ Hope to see you there!

Human Remains in a Fire Scene

When human remains are found in a fire scene, the most important question is if the victim died of natural causes before the fire, was killed prior to the fire, or died as a result of the fire. Depending on the extent of damage to the body’s soft tissues, a coroner or medical examiner may be able to advise investigators. In some cases, a forensic anthropologist will need to be called in as a consultant.

When considering how to handle burned remains, the Crow-Glassman Scale (CGS) is a standardized sliding scale to describe the extent of burn injury:

  • CGS-1: a typical smoke inhalation death, including some burning and blistering of the skin. Visual identification is possible.
  • CGS-2: significant charring to the body, potentially including loss of the small bones of the hands and feet. Identification can be made by dental records and antemortem features of the deceased.
  • CGS-3: increased destruction of the body, although the skull is still intact. Visual identification is impossible at this stage and even large bones of the body may be disarticulated (larger arm or leg bones). Possible identification by dental records and/or DNA. A forensic anthropologist may be required to determine age, race and gender based on the skeleton.
  • CGS-4: total fragmentation of the skull and additional disarticulation of arm and leg bones from the body. A forensic anthropologist is required for any possible identification.
  • CGS-5: completely cremated remains. There is no remaining soft tissue and any remaining skeletal components are fragmentary. Identification based on the remains themselves is highly problematic.

In A FLAME IN THE WIND OF DEATH, it is the discovery of a CGS-3 body that requires the expertise of Boston University’s Dr. Matt Lowell. When Matt finds out that Trooper Leigh Abbott is not on the case, he balks until she is assigned and the team is brought together once again.

If a body falls into the first two CGS categories, a medical examiner should be able to determine based on soft tissue if the victim was alive at the time of the fire:

  1. If the victim was alive and breathing during the fire, he or she would inhale carbon monoxide produced as a by-product of the fire. Carbon monoxide binds to the hemoglobin in the blood producing the stable complex carboxyhemoglobin, displacing oxygen and leading to chemical suffocation because of insufficient oxygen delivery to the tissues of the body. Carboyxhemoglobin can be measured in blood; any level above 50% is considered lethal, although death has been shown to occur anywhere in the range of 20 – 80%, depending on the age and health of the victim.
  2. If the victim was alive and breathing in hot gases from the fire, the soft tissues in the throat will show a) soot deposits, and b) evidence of searing from the hot combustion gases. Soot can also be inhaled to such an extent as to cause mechanical suffocation.

If the victim does not show signs of fire-related death, then it falls to the medical examiner or a forensic anthropologist, depending on the extent of the burn injuries, to determine probable cause of death. In CGS-1 and most CGS-2 cases, a regular autopsy will suffice. But CGS-3 and CGS-4 cases require the knowledge and skills of a forensic anthropologist.

One of the biggest difficulties in determining cause of death in burned bodies is the fact that bones fracture in the intense heat of a fire. So differentiating perimortem (at the time of death) vs. post-mortem (after death) injuries is crucial. In the following lab scene from A FLAME IN THE WIND OF DEATH, Matt explains the difference to Leigh:

“First, you need to understand the difference between fractures in wet and dry bone so you can tell perimortem fractures from postmortem fractures. I know you’re familiar with kerf marks and how a solid object passing through bone leaves an imprint behind. In the same way, heat-induced fractures leave their own microscopic and macroscopic signatures. Using these signatures, we can reconstruct both what happened and the order in which the injuries occurred. The challenge in this case is the conformational changes that occur in bone exposed to extreme heat—it changes shape so you can’t simply fit the pieces back together cleanly. But the crucial point is that once there is an existing first fracture in a bone, a second break can’t cross it. That’s how you can map the order of injury.”

“Handy,” Leigh said. “But can you tell if a break was there before the fire?”

“Yes. Heat fractures are only formed under specific circumstances—the bone dehydrates causing it to warp and shrink. When that stress becomes excessive, it results in an abrupt break similar to a sharp force trauma fracture.”

“Doesn’t that cause problems, then? How can you tell between fire damage and sharp force trauma?”

“It’s a challenge,” Matt agreed. “But wet bone behaves differently. First, heat-induced fractures only happen in dry bone—bone that’s charred black or calcined. Normal bone doesn’t fracture from heat stress because the moisture content gives it too much resilience.”

Leigh swiveled to stare at the bones on the gurney. “So if there’s a fracture in uncharred bone, it happened before the fire.”

“Exactly.”

It is this analysis, confirmed by electron microscopy to corroborate fracture speed that helps the team determine the method of the victim’s death.

We hope you’ve all enjoyed this series of posts on fire investigations. It’s a fascinating subject and it certainly added an extra level of complexity to the case for our team!


A reminder to our readers that A FLAME IN THE WIND OF DEATH releases April 18th and be available shortly thereafter. This is the third installment in the Abbott and Lowell Forensic Mysteries, following DEAD, WITHOUT A STONE TO TELL IT, and the e-novella, NO ONE SEES ME ‘TIL I FALL.

 

Photo credit: p.Gordon

Challenges of Evidence Collection After A Fire

After a fire, a criminal investigation is officially launched if arson is suspected or when suspicious human remains are found. The biggest challenge in such an investigation is the scene itself, and the fact that much of the evidence is likely destroyed. But, sometimes surprisingly, robust evidence can still be recovered.

  • Fingerprints: Fingerprints are an organic slurry of amino acids and fats mixed with inorganic compounds. As with most organic compounds, they are at high risk of damage or destruction from both radiant and direct heat, water from hoses, and the soot and ash accompanying the smoke plume and the actual fire. Patent impressions (prints visible to the naked eye, often a transfer from a substance like ink or blood) can sometimes survive, even when the surface on which they are found is scorched or charred but still intact. In fact, some prints become even more ‘set’ with the fire’s heat. Modern detection methods—like chemical developers and lasers—are so superior to previous forensic tools that they can expose even heat-denatured prints. In some cases, the heat will bake the print, causing the oils in it to darken, turning it from a latent print (invisible to the naked eye without some form of detection method) to a patent print.
  • Tool impressions: Materials melt at different temperatures during a fire. So, while wood will ignite in the presence of flame at 350oC, aluminum won’t melt until 660oC, steel at 1430oC, and iron at 1535oC. Tool impressions made in higher melting temperature metals may very well survive the fire completely intact.
  • Fragment matches: In non-fire scenarios, the physical matching of fragments—rope, tape, fabric, concrete or glass—can connect a killer to his victim, or can assist in establishing a sequence of events. Even fire-damaged materials, if the edges are not badly disintegrated, can assist with this aspect of the investigation. Most glass in a fire is shattered by force or thermal shock, but as long as the majority of the fragments can be recovered, reconstruction of the original structure and matching of adjacent fragments can still be achieved.
  • Trace Evidence: This type of evidence, depending on the type, is the most frequently lost as a result of fire. Nevertheless much trace evidence can still exist, based on protected areas on a body or in the scene. Fiber, hair, paint samples, and soil can all be recovered from fire scenes, given the right circumstances.
  • Blood/DNA: Unless the body is nearly or completely charred to ash, the opportunity exists to extract blood from one of the cardiac chambers as they are well protected by the torso during the fire. An alternative strategy is to harvest tissue from deep within the quadriceps muscle of the thigh for DNA extraction. In A FLAME IN THE WIND OF DEATH, Massachusetts Medical Examiner Dr. Edward Rowe suggests both of these methods while the team is trying to identify burned remains. 

Next week, we’ll look more deeply into the damage fire does to the human body. When a victim is found in a fire, how can investigators identify the remains and determine the cause of death? We’ll be back next week with more…


A reminder to our readers that A FLAME IN THE WIND OF DEATH releases April 18th and be available shortly thereafter. This is the third installment in the Abbott and Lowell Forensic Mysteries, following DEAD, WITHOUT A STONE TO TELL IT, and the e-novella, NO ONE SEES ME ‘TIL I FALL.

 

Photo credit: Public Domain Photos

Forensics 101: Fire Investigation

Last week we talked about some of the basics of what is involved in fire investigation and who takes part. This week we want to look more closely into what is involved in a fire investigation.

Before even setting foot inside the cooled and potentially stabilized building, a thorough investigation takes place outside the structure, taking into account an arsonist’s possible entry and exit routes, existing sightlines for any potential witnesses, and evidence external to the scene (sometimes this is the only intact evidence that escaped the fire). After entering the scene, the fire investigator is focused on two primary issues—the fire's point of origin and its cause.

To determine the point of origin, the investigator essentially needs to create a virtual reconstruction of the site as it existed before the fire based on burn and fire protection patterns. This requires analysis of the fuel involved in the fire, ventilation, the direction of spread, fire duration, and the materials involved. After reconstructing the flow and outward spread of the fire, the investigator can then follow it backwards to where it started.

What knowledge and tools must a fire investigator have at his disposal to reconstruct the devastation of a fire scene? In A FLAME IN THE WIND OF DEATH, Trooper Bree Gilson of the Massachusetts Fire Marshal’s Office uses a combination of all these strategies to determine the point of origin:

  • Fire dynamics: Fire investigators must be intimately aware of the driving factors in any fire—heat transfer and the buoyancy of hot combustion gases. If those gases reach a temperature of more than 500oC, they become visible as a fire plume. The larger the fire, the taller the fire plume and the more hot gases and particulate matter rise above it in the smoke plume.

  • Heat transfer patterns: How materials are affected by fire varies with the characteristics of that material—its melting temperature and thickness (thin materials transfer heat more rapidly than thick materials). Direct exposure to flame will also affect a material faster than radiant heat. Since the most severe thermal damage and the associated highest temperatures often indicate the point of origin, heat patterns on walls and ceilings will often reveal the location of the initial fire.

  • Soot layering: Soot—composed of carbon particles produced by the incomplete combustion of organic material—is a by-product of fire. These particles are contained in the hot gases and smoke that rise above the fire plume, spreading outward along the ceiling. When those hot gases encounter colder surfaces of the structure that are not yet involved in the fire, the soot particles condense in a layer on that surface. Therefore, if a part of the structure that was fully involved in the fire also shows evidence of soot, then that area of the fire started after the initial blaze.

208294792_5b49c92124_by_ DaveBleasdale.jpg
  • Knowledge of materials: The behaviour of materials in a fire, i.e. the temperature at which thermal damage will affect that material, is crucial in fire investigation. For instance, copper will melt in an 1100oC fire, but steel and iron will not. Glass will melt at 760oC, but if heated to lower temperatures and then rapidly cooled by water spray, a web of microfractures called ‘crazing’ forms within the structure of the glass. Study of the materials in a fire will indicate where the fire started (heavier thermal damage will be located nearest to the seat of the fire), and also provide the direction of travel.

  • Interviews with firefighters: Structure conditions can change rapidly while crews extinguish the fire. Often windows are purposely broken by firefighters to ventilate the fire, so post-fire structure condition does not necessarily indicate the initial state of the structure. Interviews with firefighters will indicate conditions at the time of their arrival, as well as throughout the operation. Smoke and ventilation conditions—if doors were left open or if windows were open or broken at the time of arrival—can indicate the direction of travel of the fire prior to the fire fighters’ arrival.

  • Full photographic documentation: Once the scene is released and outside individuals are allowed access, the scene can no longer be considered as untainted evidence. Photographs of the state of the scene prior to release are crucial for later reference and courtroom testimony. Also, since burned structures may be unstable as water-logged walls fall or hot spots rekindle, prompt photos are crucial to document the scene as soon as possible after the fire. Since roofs often collapse during a fire, crucial evidence may be obscured by debris landing inside the structure. Sequential photos must be taken as layers of the scene are removed, revealing additional evidence.

  • K-9 investigators: Many fire departments are assisted by K-9 team members who are trained to isolate and locate the smell of chemical accelerants, helping to determine both the point of origin and the cause of the fire.

In cases where a K-9 has not identified an accelerant, the cause of the fire must be determined after the point of origin is located. In some cases, a fuel or heat source may be self-evident by the presence of a heated appliance such as a stove or iron. Some fires clearly lead back to wall sockets, extension cords, or small electrical devices that have failed or been misused. If an accelerant is suspected, samples can be taken from the point of origin for chemical testing.

Next week, we’re going to look at criminal fire investigations and the challenges of collecting evidence when your scene has been destroyed.

A reminder to our readers that A FLAME IN THE WIND OF DEATH will release April 18th and be available shortly thereafter. This is the third installment in the Abbott and Lowell Forensic Mysteries, following DEAD, WITHOUT A STONE TO TELL IT, and the e-novella, NO ONE SEES ME ‘TIL I FALL.

Photo credit: State Farm and DaveBleasdale