There is an article by Sandra Wendel which appeared in the December 2017 issue of the IBPA Independent magazine. Ms Wendel is an experienced book editor who specializes in helping authors write, polish, and publish their manuscripts; she gives the following example of “doing whatever it takes” as an editor. Her website is https://www.sandrawendel.com/.
“After working his way up through the ranks in narcotics and homicide, putting plenty of bad guys in prison, and retiring from exemplary work on the Omaha Police Department, detective Brian Bogdanoff sat down to write a story.” (A true story of two bad guys who stole tons of marijuana from three Mexican drug minions, shot the three and burned their bodies along the roadside near Omaha.)
“Brian and I met in a book-writing class I was teaching at the community college. The manuscript he brought me read like a police report with words like “vehicles,” “perpetrators,” and “victims.” So I invited him to my home office, sat him down, and we began.
“He had written:
As I spoke with each of them separately, I could see nobody wanted to talk yet, so I made it very clear to Preston and Gaylan that I was a homicide detective, not a narcotics officer, and this case that brought me to them was just getting started.
As if he were on the hot seat in an interrogation room, I grilled him: “What did Gaylan look like?” “What was he doing?” “What exactly did he say?” “And then what did you say?” “Describe the room—how big, furniture, what?”
Here’s the revision of the same passage:
Gaylan was first. If someone was going to talk, I thought it would be Gaylan.
I walked into a fourth-floor interview room of the Criminal Investigation Bureau at downtown police headquarters. Gaylan was sitting at the same table where he’d been sitting for nine hours while we were searching his house, the recording studio, the lawn service, the remaining storage units, and his secondary houses.
His head was down, he looked up at me and said, “What’s up, man?”
He’s a big guy, twenty-four years old, and was tired from sitting in a ten-by-ten room all day. He wasn’t handcuffed, but there was a guard outside the door.
“You got big problems.” I opened the conversation. “I got a receipt and inventory of all the stuff we recovered today, and it doesn’t look good.” I handed him a list of the property seized.
“I’m a homicide cop, and that’s what this is all about, so you might be in your best position right now to tell me what you know,” I said. “If someone else wants to talk first, they’ll get all the good things that come with it.” And he chose not to talk.
I gave the same spiel to Preston. He had the same attitude. He wasn’t talking.
Roscoe and I then walked Gaylan to the jail elevator and rode it to the basement of the police station. We put our guns in the gun locker and walked him into jail. He was booked in for his marijuana charges and taken to his concrete ten-by-ten cell in solitary confinement, which on the street has earned the name Bedrock.
We did the same procedure for Preston.
“And the story came out, excruciating detail by detail, so readers could go inside the mind of this talented detective and follow his story from crime scene to courtroom, gasping when blood was found under the carpet of a home, unbeknownst even to the current residents. Readers followed the thread of a note found in the pocket of one of the burned bodies to the hotel where the cartel guys stayed.
“We described more key scenes with fresh detail and dialogue. And then we went to the crime scenes themselves where I took photos of the roadside burn site where religious artifacts had still been left presumably by grieving family five years later; to the yellow house where the gangbangers shot the Mexicans and loaded their bodies into a pickup that left a dripping blood trail down the street; to the neighborhood where the bangers lived that didn’t feel safe even at two in the afternoon with an armed police officer giving the guided tour.
“We gathered yet more detail, so I could add pertinent facts and observations. That’s what an editor does.”
Three Bodies Burning by Brian Bogdanoff
The moral of this article is that it takes a different mentality to be a good homicide detective, than the mentality of a writer who can make the detective’s story come alive in the mind of the reader.