Behavioral Interviewing Techniques

1. Behavioral Interviewing Techniques Chapter 6 6-1

2. Behavioral Interviewing • Application of communication theory and patterns of behavior to guide the interview process

3. Behavior Learning Model • Approximately 99 percent of the stimuli to the brain are received unconsciously • About 80 percent of this is taken in by the eyes

4. Neuro-linguistic Programming • “Neuro” refers to the brain • Behavior originates from the five senses • “Linguistics,” the way that we communicate both verbally and non-verbally • Follows the paths provided in the brain

5. Neuro-linguistic Programming • “Programming” refers to the unique way that humans manipulate the signals and convert them into useful information • Influenced by experience and behaviors

6. Facial Coding • The facial coding system (FACS) is a comprehensive, anatomically based method of measuring all visually discernible facial movement

7. Facial Expressions • Five universal expressions are controlled by the autonomic nervous system • Anger, fear, disgust, sadness, and enjoyment • Embarrassment has been identified • Gaze down, smile, head turn or face touch, and then lip press

8. The Future • Computer software has been developed for face recognition and coding of expressions

9. Sensatory Verbal Communication Visual Auditory Kinesthetic • We all have a predominant sense, either sight or sound or touch, known as being visual, auditory, or kinesthetic

10. Visual Thought Process Persons • The majority of the population are visual processors. • The principal values of the visual modality are dynamism and perfection. • Hand and arms moving near their neck level when they are talking is common

11. Verbal Examples of the Visual Thought Process • Do I have to draw you a picture? • I don’t see why I am here, you are looking at the wrong guy! • Look at it this way. • I see what you mean!

12. Auditory Thought Process Persons • Approximately 20% of the population are auditory. • They are impacted by what they hear. • They are the great speakers, singers, and musicians. • They tend to speak moderately and rhythmically. Moderate your vocal rate and breathe deeply to communicate with this personality.

13. Verbal Examples of the Auditory Thought Process • I hear what you are saying. • Listen to this! • Tell me what you mean! • Aren’t you listening to me?

14. Kinesthetic Thought Process Persons • A small percentage of the population • They feel what they are thinking • Impacted by emotions and feelings, not necessarily facts or charts • Note if their gaze is frequently down and their breathing is slow and deep. Slow down and be particularly calm to communicate with this personality.

15. Verbal Examples of the Kinesthetic Thought Process • I feel your pain. • I know what you are going through, how you feel. • How can you not feel it? • I feel just terrible!

16. Eye Movement • Everyone processes in all three modes, but develops a dominant pattern of response • Establish a baseline for the subject • Watch the direction of the subject’s eyes in response to visual, auditory, or kinesthetic terms during a rapport building phase

17. Visual Modality • You will notice that they access visual representations by looking up very often when they are talking.

18. Visual ModalityEye Accessing Cues • Eyes straight ahead and defocused — probably remembered/recall • Eyes up and left — recall things the person has seen before • Eyes up and right — things the person creates in the mind, the image is new

19. Visual Modality Voice Cues • Tend to speak quickly — paint word pictures • Tend to breathe high in their chests • Voice quality high-pitched, nasal, strained

20. Visual Modality Behavior Accessing Cues • They communicate by gesturing up with their hands • Tend to stand erect with their shoulders more or less straight across

21. Auditory ModalityEye Accessing Cues • You will notice that he often accesses auditory mental representations by looking side to side when speaking or thinking about things.

22. Auditory ModalityEye Movement • Eyes sideways and right — auditory construct/create • Eyes sideways and left — person remembers/recalls • Eyes down and left — auditory digital or self-talk

23. Auditory ModalityVoice Accessing Cues • Tend to be selective about words they use • Breathe evenly from the diaphragm or whole chest • More resonant voices • Speech slower, rhythmic, and measured

24. Auditory Modality Behavior • Person’s head balanced or cocked to the side • Hands/arms move below the shoulder level — point to their ear(s) when asked to explain something

25. Kinesthetic ModalityEye Accessing Cues • You will notice that they access visual representations by looking down very often when they are talking. • Eyes down and right — touch, feelings, tactile sensations, muscle movements, emotions

26. Kinesthetic ModalityBehavior Cues • Person’s head down, neck and shoulders relaxed • Person’s hands/arms movement lower near stomach level — usually slower and more deliberate than other two groups • React, primarily to feelings

27. Kinesthetic ModalityVoice Accessing Cues • Tend to speak slowest of all • Deep breathing low in stomach • Low, deep tonality

28. Limitations and Differences • Some people’s eye movements will be reversed from the normal pattern • Occurs with “true” left-handed persons • Men tend to look more consistently in one direction • Women show more of a mix; could be that cerebral organization may be more lateralized in men than women. Women tend to scan.

29. Emotions and Observable Behaviors • Emotions can’t be called forth on command or terminated simply by choice • Do not rely on expressive characteristics alone to determine guilt or innocence

30. Reliable Facial Expressions — Lips • Corners go down = sadness, sorrow, or grief • Thinner and less visible = anger

31. Reliable Facial Expressions — Lips • Angling up at the corners = contempt • Lower lip pushed by the chin muscle and the corners tightened or down without any evidence of the muscle around the eyes tightening = miserable smile

32. Reliable Facial Expressions — Eyes • Smiling face with lower eyelids straight across, covering part of the iris of the eye and wrinkles below the eye disappear = wariness, guardedness, or anger

33. Reliable Facial Expressions — Eyebrows • Center forehead muscles wrinkling and inner corners of the eyebrow typically pulled upward = sadness, grief, or distress • Eyebrows raised and pulled together = fear, worry, or concentration

34. False Emotions Signaled by Expression • Crooked expression, particularly more visible on the left side of the face is not felt • Expressions of long duration are likely false • False smile will not be accompanied by involvement of the eye muscles

35. Possible Indications of Deceit — Eyes • Increased blinking = emotional arousal such as excitement, anger, or fear • Eyelids tend to close longer than a normal blink = hears something they disagree with • Pupils dilate = emotional arousal such as excitement, anger, or fear

36. Possible Indications of Deceit — Face • Face blushing = embarrassment or shame • Face turning red = anger

37. Establishing Authority • Authority stances = hands on hips, feet spread apart • Clothing must be professional attire or clean uniform • Don’t wear obviously cheap trappings such as string-bead bracelets • Cruiser must be clean and polished

38. Qualifiers • Qualifier is a word that modifies or limits the meaning of the phrase • Using “it” to refer to victim or perpetrator • Used to soften the image, lessen guilt, or describe an imaginary situation

39. Hedging • Hedging is a lack of commitment to the statement • Example: “I think …”

40. Emblems • Emblems are gestures that are often unconscious • Head shaking “yes” or “no”

41. Manipulators • Manipulators are poor indicators of deceit • Lip biting and lip sucking

42. Physiological Changes • Look for physiological changes which are difficult to control • Changes in skin color, voice tone, breathing rate

43. Detecting Deceit • No gesture, facial expression, or muscle twitch by itself means a person is lying • The polygraph only measures arousal of emotion, not which emotion is felt • Absence of a sign of deceit is not evidence of truth

44. Detecting Deceit • Make comparisons between suspect’s usual behavior and when under suspicion • The person may feel and exhibit an emotion about being suspected of lying • Discount the sign of the emotion as a clue to deceit if suspect is likely to have the feeling when truthful