I spent a year in Homicide Special’s squad room, from the summer of 2000 to the summer of 2001, and was with the detectives through every stage of their investigations. Although the unit’s supervisors granted me complete and unfettered access, I was subject to no restrictions or edicts.
After I finished writing the book, I discovered that I had become a part of the story. During Robert Blake’s preliminary hearing for the murder of his wife, Bonny Bakley, my presence during the first few months of the investigation was raised by the defense as a controversial issue. Police officials were criticized, and the judgment of the detectives was questioned.
I am chagrined that my access was used to attack the investigation and will probably be employed as a defense strategy during the trial. The detectives were criticized for letting me follow them, but my presence was not their decision. Police officials approved my project. Although they obviously hoped I would portray the department in a positive manner, I criticize the LAPD when I see fit and depict flaws as I encounter them. I believe that allowing a journalist to scrutinize police investigations is clearly in the public interest, sheds light on a traditionally secretive institution, and is a safeguard against police misconduct.
My research approach is not unique. Other writers have employed similar methods, including David Simon, who wrote the critically acclaimed book, Homicide: A Year on the Killing Streets. During the research for my first book, The Killing Season, which was set in South-Central Los Angeles, I also shadowed homicide detectives. And as a crime reporter for the Los Angeles Times, I followed investigators to numerous crime scenes, autopsies, witness interviews, death notifications and other stages of their cases.
During my year with Homicide Special, the detectives picked up more than a dozen cases, but I could not recount every one. I focused on the cases I felt were the most interesting, varied, and limned both investigative successes as well as failures. Most of the events of this book I observed; those I did not I re-created through transcripts and interviews with the detectives. Some of the lengthier interviews have been condensed. All of the names in the book are real except for Vincent Rossi and Michael Goldsmith.
I want to thank the detectives for their support and for making me feel at home during my year in the squad room. Their graciousness and generosity went above and beyond the call of duty. Lieutenants Clay Farrell and Don Hartwell always patiently answered all of my questions and helped me understand the nuances of homicide investigation. They are true gentlemen. Captain Jim Tatreau never attempted to influence what I wrote or how I portrayed the unit. “Yes, these guys will make mistakes and screw up sometimes,” he told me. “I don’t care if people see that. But I’d also like them to see that most of our detectives are hard-working people who generally try to do the right thing.”
I’d also like to thank my agent, Barney Karpfinger, who is more than just a business representative. He is a good friend. Over the years, he has helped me so often, in so many ways. He did it again this time around.
My editors, Jennifer Barth and George Hodgman, had excellent insights and suggestions, which made Homicide Special a much better book. I really appreciate their energy, enthusiasm, and refusal to accept any chapter that did not meet their standards. Ruth Kaplan was also extremely helpful.
I thank an old friend, Michael Shapiro, for reading the manuscript and offering encouragement when it was needed most.
My sister Leni Corwin was a wonderful confidant, friend, and ally during the final stages of the book. Her assistance was invaluable.
I am especially grateful for the help of my wife, Diane. I simply could not have written this book without her support.