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Crime Beat: A Decade of Covering Cops and Killers [Hardcover]

Michael Connelly (Author)
2.1 out of 5 stars  See all reviews (63 customer reviews)


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Book Description

May 8, 2006
From #1 bestseller Michael Connelly's first career as a prizewinning crime reporter--the gripping, true stories that inspired and informed his novels.


Before he became a novelist, Michael Connelly was a crime reporter, covering the detectives who worked the homicide beat in Florida and Los Angeles.


In vivid, hard-hitting articles, Connelly leads the reader past the yellow police tape as he follows the investigators, the victims, their families and friends--and, of course, the killers--to tell the real stories of murder and its aftermath.


Connelly's firsthand observations would lend inspiration to his novels, from The Black Echo, which was drawn from a real-life bank heist, to Trunk Music, based on an unsolved case of a man found in the trunk of his Rolls Royce. And the vital details of his best-known characters, both heroes and villains, would be drawn from the cops and killers he reported on: from loner detective Harry Bosch to the manipulative serial killer the Poet.


Stranger than fiction and every bit as gripping, these pieces show once again that Michael Connelly is not only a master of his craft, but also one of the great American writers in any form.

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Editorial Reviews

Amazon.com Review

Book Description:
From No. 1 bestseller Michael Connelly's first career as a prizewinning crime reporter--the gripping, true stories that inspired and informed his novels. Before he became a novelist, Michael Connelly was a crime reporter, covering the detectives who worked the homicide beat in Florida and Los Angeles. In vivid, hard-hitting articles, Connelly leads the reader past the yellow police tape as he follows the investigators, the victims, their families and friends--and, of course, the killers--to tell the real stories of murder and its aftermath. Connelly's firsthand observations would lend inspiration to his novels, from The Black Echo, which was drawn from a real-life bank heist, to Trunk Music, based on an unsolved case of a man found in the trunk of his Rolls Royce. And the vital details of his best-known characters, both heroes and villains, would be drawn from the cops and killers he reported on: from loner detective Harry Bosch to the manipulative serial killer the Poet. Stranger than fiction and every bit as gripping, these pieces show once again that Michael Connelly is not only a master of his craft, but also one of the great American writers in any form.

Amazon.com Exclusive
Before he became a bestselling novelist, Michael Connelly was a crime reporter, covering the detectives who worked the homicide beat in Florida and Los Angeles. In his vivid new book, Crime Beat: A Decade of Covering Cops and Killers, Connelly leads readers past the yellow police tape as he follows the investigators, the victims, and the killers to tell the real stories of murder and its aftermath.


Read an exclusive essay from Michael Connelly



Michael Connelly's 1988 Los Angeles County Press Pass


More from Michel Connelly


Echo Park


The Closers

The Poet


From Publishers Weekly

The many fans of perennially bestselling mystery author Connelly will certainly lap up this collection of his articles written during his former life as a crime journalist in Florida and California. In three sections, The Cops, The Killers and The Cases, Connelly presents a wide variety of stories from the 1980s and early '90s, ranging from local crimes to national sensations such as the serial killer Christopher Wilder, one of the FBI's Most Wanted. With Wilder, for instance, readers watch Connelly build a portrait of a man who gained access to women in the Florida modeling and fashion scene by posing as a professional photographer with cunning charm, smooth talk and money. Connelly tells tales of double lives, failures of the criminal justice system and the shooting death of a 245-pound L.A. prostitute. The format of the book may disappoint some, as the inclusion of multiple reports about the same crimes often contain repetitive language. The author is strongest bringing quiet moments to life, such as the despair of parents hoping that a missing child will still turn up, or the patient, resigned professionalism of weary detectives. Devotees of Connelly's fiction will enjoy tracing the real-life roots of some of his plots. (May 8)
Copyright c Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.
Copyright© Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.

Product Details

  • Hardcover: 384 pages
  • Publisher: Little, Brown and Company; 1ST edition (May 8, 2006)
  • Language: English
  • ISBN-10: 031615377X
  • ISBN-13: 978-0316153775
  • Product Dimensions: 7.3 x 5.1 x 0.3 inches
  • Shipping Weight: 2.4 ounces
  • Average Customer Review: 2.1 out of 5 stars  See all reviews (63 customer reviews)
  • Amazon Best Sellers Rank: #1,293,000 in Books (See Top 100 in Books)

More About the Author

Michael Connelly decided to become a writer after discovering the books of Raymond Chandler while attending the University of Florida. Once he decided on this direction he chose a major in journalism and a minor in creative writing ' a curriculum in which one of his teachers was novelist Harry Crews.

After graduating in 1980, Connelly worked at newspapers in Daytona Beach and Fort Lauderdale, Florida, primarily specializing in the crime beat. In Fort Lauderdale he wrote about police and crime during the height of the murder and violence wave that rolled over South Florida during the so-called cocaine wars. In 1986, he and two other reporters spent several months interviewing survivors of a major airline crash. They wrote a magazine story on the crash and the survivors which was later short-listed for the Pulitzer Prize for feature writing. The magazine story also moved Connelly into the upper levels of journalism, landing him a job as a crime reporter for the Los Angeles Times, one of the largest papers in the country, and bringing him to the city of which his literary hero, Chandler, had written.

After three years on the crime beat in L.A., Connelly began writing his first novel to feature LAPD Detective Hieronymus Bosch. The novel, The Black Echo, based in part on a true crime that had occurred in Los Angeles , was published in 1992 and won the Edgar Award for Best First Novel by the Mystery Writers of America. Connelly has followed that up with 18 more novels. His books have been translated into 31 languages and have won the Edgar, Anthony, Macavity, Shamus, Dilys, Nero, Barry, Audie, Ridley, Maltese Falcon (Japan), .38 Caliber (France), Grand Prix (France), and Premio Bancarella (Italy) awards.

Michael lives with his family in Florida.

 

Customer Reviews

63 Reviews
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 (7)
3 star:
 (9)
2 star:
 (11)
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Average Customer Review
2.1 out of 5 stars (63 customer reviews)
 
 
 
 
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Most Helpful Customer Reviews

35 of 41 people found the following review helpful:
1.0 out of 5 stars The introduction was great but..., May 25, 2006
By 
M&M (Seattle, WA USA) - See all my reviews
(VINE VOICE)   
This review is from: Crime Beat: A Decade of Covering Cops and Killers (Hardcover)
...it was all down hill from there. I bought this book thinking that Connelly was writing about crimes he had covered. That sounded interesting. Instead it appears to be just a reprint of old columns he wrote about various crimes. For each crime, there's a series of stand-alone articles and as a result there's lots of repetition of information from one to the next. I got bored and gave up on it after about 60 pages. It could have been very good if only Connelly had taken the info from each crime and reworked it into one story for each incident.
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14 of 15 people found the following review helpful:
2.0 out of 5 stars Disappointing..., August 18, 2007
Meh. I was hoping for more in a book of true crime by a well-reviewed mystery author, but this is just an uneditted collection of Connelly's crime-related newspaper stories from his journalist days of the 1980s and early 1990s. The stories are almost all straight newspaper stories, with all the negatives that implies--little nuance, straight facts, lots of repetitions over a series of stories about the same crime. I was hoping for something more like Ann Rule's "Crime Files" books--yes, reprints, but with some perspective and rewriting. A few of the stories were more interesting, in particular "The Gang that Couldn't Shoot Straight", which is a longer article telling the story of an almost comically inept gang of hitman-wannabes, who unfortunately succeeded in killing a couple of their targets. This story must have been a Sunday feature or magazine article because it had more development and room to breathe without all the repetition of background details.

Okay, but I expected more from someone with Connelly's reputation.
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22 of 26 people found the following review helpful:
4.0 out of 5 stars "It all comes down to moments.", May 25, 2006
This review is from: Crime Beat: A Decade of Covering Cops and Killers (Hardcover)
Michael Connelly's "Crime Beat" is a compilation of previously published newspaper articles that appeared in the South Florida Sun-Sentinel from 1984-1987 and in the Los Angeles Times from 1987-1992. In his introduction Connelly explains, "My experiences with cops and killers were invaluable to me as a novelist." Readers beware! This is not a Harry Bosch novel, nor is it a stand-alone thriller. The book is divided into three sections: the cops, the killers, and the cases. Each chapter is a look at how Connelly the reporter views a crime and its aftermath.

The valid question that some reviewers have posed is: Why should we be interested in true crimes from the eighties and early nineties? After all, Connelly's fans buy his books because they love his delineation of fictional characters, his thoughtful exploration of what makes a homicide detective's life so harrowing, and his intriguing story lines. This book provides a different kind of pleasure: a glimpse at how a good reporter parlayed his considerable talent into successful fiction-writing. In "Crime Beat," Connelly describes misdeeds both horrifying and banal, criminals who are drug-addicted, delusional, or sociopathic, and victims who are sometimes innocent and occasionally just plain foolish.

For example, there is an eye-opening account of criminals who flee to Mexico to avoid standing trial in the United States. Connelly introduces us to two detectives who help Mexican authorities find and prosecute fugitives from American justice. Some civil libertarians believe that it is unfair to subject suspects who commit a crime on American soil to the Mexican justice system, which offers fewer protections to the defendant. However, the "foreign prosecution unit" has successfully survived all legal challenges, and authorities in both Mexico and the United States are satisfied with the unit's performance.

In other chapters, Connelly depicts a wide assortment of miscreants: rogue cops, a serial killer, a brazen bigamist, an inept gang of contract killers, and a vicious twenty-one year old man who butchered his own father. Not all of the cases are closed. Some remain open-unsolved until this day, and the reader's heart goes out to some victims' families who do not even have a body to bury.

Connelly has a gift for understanding and interpreting the criminal mind. He also has empathy for the harried, overworked, and often frustrated detectives whose tedious job it is to run down every lead. Cops love it when a suspect jumps out at them right away; however, perpetrators rarely confess immediately. Usually, detectives must work long hours conducting endless interviews, working the phones, checking computer databases, and following dozens of tips before they are ready to make an arrest. In clear, crisp prose, the author provides not only the bare facts, but he also clarifies the legal aspects of each case and gives the reader insight into the personalities involved.

My one quibble with "Crime Beat" is its excessive length. At a bit under four hundred pages, the book eventually becomes repetitious; there is considerable fat that could have been trimmed. Still, Connelly effectively shows how his keen powers of observation, fluid prose style, dark sense of humor, and understanding of what makes people tick has enabled him to make such a smooth transition from reporting to writing superb thrillers.
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