Mass Incarceration: Sentencing Insanity

mass incarceration

By Paul Levine

Todd and Garrett were best friends from the west coast of Florida who loved fishing and drinking beer. After one long, hot day of doing both, they sat in Todd’s Ford pick-up at a gas station and argued over something stupid, as best friends sometimes do. Todd wanted to drive to his girlfriend’s house; Garrett wanted to go home.

Someone threw a loopy, beery punch.

And they struggled.

One of the two pulled Todd’s .40 caliber Glock from under the front seat. (The evidence was in conflict over who grabbed the gun, which they tussled over). The gun discharged, the bullet hitting a roof strut. A shard of the ricochet struck Garrett in the head. A stricken Todd comforted his wounded pal and called 9-1-1.

Garrett survived, thanks to Todd’s quick action. Todd went on trial in Manatee County, charged with aggravated assault with a firearm. Now, a legal quiz. What’s your verdict?

(1) Todd was acquitted because the shooting was an accident;

(2) Todd was convicted, but due to a clean record, received probation;

(3) Todd was convicted and sentenced to three years because a gun was involved.

(4) Todd was convicted, and the judge reluctantly sentenced him to 25 years in prison, because Florida law requires it.

If you said number four, you’re right. Aggravated assault with a firearm resulting in an injury draws a 25 year minimum mandatory sentence, regardless of the circumstances.

mass incarceration photo
A victim of mass incarceration: the real Todd’s prison photo.

Todd is serving his time in Avon Park Correctional Institution in Highlands County. He is one of thousands of prisoners, who in my opinion, are serving absurdly long terms due to the Legislature’s imposition of minimum mandatory sentences.

The Florida Legislature has taken sentencing discretion out of the hands of the judiciary where certain crimes are involved. It’s part of the troubling nationwide trend of mass incarceration. My thesis is a simple one: Mandatory minimum sentences overcrowd our prisons and create social problems.

Mass Incarceration Costs $74 Billion a Year

Here are the numbers, as reported by CNBC on its special, “Billions Behind Bars: Inside America’s Prison Industry”:

“With more than 2.3 million people locked up, the U.S. has the highest incarceration rate in the world. One out of 100 American adults is behind bars — while a stunning one out of 32 is on probation, parole or in prison. This reliance on mass incarceration has created a thriving prison economy. The states and the federal government spend about $74 billion a year on corrections, and nearly 800,000 people work in the industry.”

Here’s another statistic worth considering.  It costs about $26,000 per inmate in prison and about $3,400 per felon on supervised probation.

Maybe you watched the recent PBS “Frontline” episode entitled “Prison State: the Impact of Mass Incarceration in the United States.” Many of the stories of families torn apart were heartbreaking.

mass incarceration and politic
Political policy, not crime, drives mass incarceration, the authors argue.

Or maybe you read the book, “Why Are So Many Americans in Prison?” by Steven Raphael and Michael Stoll, both professors in the University of California system. Their answer to the mass incarceration dilemma is quite simple. Prison population has not been driven to record numbers because of an increase in crime, but rather because of changes in political policy. (In fact, crime rates have fallen by almost half in the last 25 years).

All 50 states have adopted mandatory sentencing laws. Since the 1960’s, the incarceration rate – the number of persons imprisoned in relation to the population – has nearly quadrupled! In actual numbers, of course, the number is far greater. The rate of Americans in prison is roughly fifteen times greater than Japan, five times greater than Great Britain, and more than triple that of Mexico.

mass incarceration policy
Mass incarceration is expensive and harmful public policy.

In raw numbers, our prisons and jails hold an astounding 2.2 to 2.3 million people. Rather than diminish crime, mass incarceration may, in fact, increase crime as well as poverty. As recently reported by Eduardo Porto in The New York Times, “In the U.S., Punishment Often Comes Before the Crimes”:

“A growing body of research has concluded that the costs of the [mass incarceration] strategy are much steeper than prisoners room and board. Anna Aizer of Brown University and Joseph J. Doyle Jr. of the Massachusetts Institute of Technology found that putting a minor in juvenile detention reduced his likelihood of graduating from high school by 13 percentage points and increased his odds of being incarcerated as an adult by 23 percentage points.

“More than half of inmates have minor children. Their children are almost six times as likely to be expelled or suspended from school. Family incomes fall 22 percent during the years fathers are incarcerated.”

I think about those inmates and their children a lot.  And I think, too, about Todd.

On the federal front, where about half of all inmates are imprisoned for drug crimes, the Obama Administration is doing something about the most egregious sentences. For federal inmates imprisoned more than ten years – and not convicted of crimes of violence – there is now a “Get Out of Jail” card. For more details on this subject, take a look at  Super Lawyer Marcia Silvers’ excellent blog, “Commutation of Sentence: The Window Opens.”

For the sake of Todd and thousands like him, it would be in the national interest for the Florida Legislature and other states to embrace sentence reform and put an end to mass incarceration.

Paul Levine

Author Interviews: The Harvard Square Grills Crime Novelist

Author Interviews: Author at work

(Author Interviews Note by Paul Levine: The closest I ever got to Harvard was in 1973 when its law school offered me admission to its LL.M. program. I was just about to graduate from the University of Miami Law School and thought I wanted to be a professor. Oh, that was a long time ago! Anyway, I was a new father and needed a paying job, not more tuition, so I reluctantly said “no thanks.” This week I sat down with Mary Yuhas of The Harvard Square who grilled me with questions, both literary and personal. (Hemingway was unavailable). This is adapted from her article, which appeared February 12, 2014).

Author Interviews: Lawyer-Turned-Novelist Paul Levine

The author of 18 novels, Paul Levine won the John D. MacDonald fiction award and was nominated for the Edgar, Macavity, International Thriller, and James Thurber prizes. A former trial lawyer, he also wrote more than 20 episodes of the CBS military drama “JAG” and co-created the Supreme Court drama “First Monday” starring James Garner and Joe Mantegna. The critically acclaimed international bestseller To Speak for the Dead featuring Jake Lassiter was his first novel. Levine is also the author of the Solomon vs. Lord series and the thrillers Illegal, Ballistic, Impact, and Paydirt. His most recent novel is State vs. Lassiter. He is a graduate of Penn State University and the University of Miami Law School.  More information on his website.

Author Interviews: The Q & A

H.S.: How did you begin your writing career?

Paul: I blame windsurfing. I was on vacation in Maui and got injured windsurfing off the North Shore. It was hard to walk so for two weeks. I had nothing to do but lie on the beach. I had a pen and a yellow legal pad, which was useful because, at the time, I was a lawyer. I was thinking about a case of mine in which an old man’s busty secretary set up the theft of $2 million in negotiable bonds from his home office. In real life, the story was fairly boring. I got the bonds back; no one went to jail, but I saw possibilities for fiction…involving windsurfing.

H.S.: So you started writing in longhand on a legal pad?

Paul: This was a long time ago.  A “laptop” was a dance in a strip club.  Anyway, I scribbled one sentence on the legal pad: “The old man loved money, gadgets, and large-breasted women, and at the moment, he had all three.” It’s the first line of fiction I ever wrote unless you count all the legal briefs I filed over the years. The sentence got me started. It opens chapter one of Riptide, one of the Jake Lassiter series.

Author interviews: Paul
Paul’s image of himself hurrying to court as a young, nasty lawyer

H.S.: Your novels “often have a sly, sardonic tone,” according to Wikipedia.

Paul: They’re one to talk.

H.S.: Seriously, you often write about murder trials, and yet you often bring humor into play.

Paul: As Jake Lassiter points out, there’s a hilarious sign in every courtroom in Miami: “We Who Labor Here Seek Only Truth.” Then there’s Steve Solomon who makes up his own rules: “When the law doesn’t work…work the law.” Let’s just say that, having tried cases for 17 years, I have a healthy skepticism about what Lassiter terms the “so-called justice system.”

Author Interviews. Paul as lawyer
As a young trial lawyer, the author tries to look older and wiser. As an older man, he attempts to look younger and hipper.

H.S.: If you were starting out today, would you look for an agent or publish via an e-book?

Paul: I would definitely try the traditional approach of a getting an agent and a legacy publisher. Self-publishing a single work without a backlist is very, very difficult. How many ebooks are out there? Five million? Six million? More? How do you get noticed? The optimum way is the old hardcover/paperback deal. Or trade paperback by a recognized publisher.

The Equation: Writing Equals Rejection Squared

H.S. Did you ever have doubts about your writing ability, especially after harsh criticism or literary agent rejections? How did you handle it and what do you suggest to others?

Paul: I am filled with self-doubt! I am always surprised when a story works, or dialogue zings, or a character becomes real. I wrote two books on spec that never sold to publishers. Yes, that hurt. I also now see the weaknesses in those books. I also wrote many spec features that didn’t sell to Hollywood and wrote TV pilots (both hired by the networks and on spec) that didn’t were never made. There should be an equation. Writing equals Rejection Squared. Advice? Handle it! Persevere. Don’t whine. Put your butt in the chair and write!

H.S.: What’s the biggest mistake first time authors often make?

Paul: Impatience, which causes poor writing. With beginning writers, there’s a tendency to think you’re done when you’ve finished with your first or second draft. Unless you are a genius, which I’m not, you’ve just reached second base. To score a run, you’ve got to rewrite and rewrite. Hemingway said, “all good writing is rewriting.” Take his advice. Rewrite and polish.

Author interviews: Hemingway shoots
When he wasn’t polishing his prose, Hemingway was polishing his aim.

H.S.: Any other tips for first-time-authors?

Paul: Read good authors in a field you enjoy. But DON’T copy their style. There’s nothing worse than a faux Elmore Leonard. Read books about story structure and writing novels. There are really too many to recommend, but Stephen King’s book On Writing comes to mind. And, of course, write!

H.S.: Is it easier or harder to get into writing today than when you started?

Paul: It’s harder to break into traditional publishing than when I started in the 1980s with Bantam because there are fewer major publishers. There has been some growth in smaller, independent presses, which is good, but the flip side is that the amount of the advance is generally less. But then, there is the new world of self-publishing on the internet with Amazon and its competitors. Nothing wrong with that, but there seems to be a myth that self-publishing ebooks is an easy way to riches and fame. That’s not the case.

H.S.: Author Interviews wants to know: how long does it take you to write a book?

Paul: From idea to concept to research to outline to writing and revisions, it takes me nine months to a year for most of the series books. I already have my protagonist and his world in my head. I don’t need to drive to the courthouse to see what a courtroom looks like. For standalones, such as Illegal, it took closer to a year and 1/2 to two years Part of the book is written from the point of view of a young Mexican woman and part from her 12-year-old son’s POV. I was terrified I could not write in the voice of a 30-year-old female illegal alien. In the end, I believe it turned out well.

H.S.: How did you break into writing TV screenwriting?

Paul: I became friends with fellow Penn State grad Don Bellisario, the creator of “Magnum, P.I.,” “Quantum Leap,” and “JAG,” among others. He enjoyed my books, and I enjoyed his shows. When he wrote the two-hour pilot of “JAG,” he shared it with me. I told him I liked it very much, but did television really want a show about Navy lawyers? (What did I know! The show ran 10 years and about 220 episodes). Anyway, in the third season, Don asked if I wanted to write a script as a free-lancer. I’d written a couple of TV pilots that hadn’t gone anywhere, and I thought I understood the voice of the show and could write those characters, so I did it, and the episode aired pretty much the way I wrote it.

Author Interviews.  Paul's credit
The television writer gets immediate gratification (or sorrow). It’s just weeks from script to air.

The next year, I freelanced another script for “JAG,” and the year after that, Don asked me to move to Los Angeles and work full-time on the show. Initially, I didn’t want to do it. But I had just written one of those spec novels that didn’t sell. So I took the job, which frankly paid WAY more money that I expected. And the Writers Guild has a helluva health plan and a pension plan, something book authors don’t get. Of course, occasionally you have to stop working and hit the picket lines.  I’m a big believer in unions, by the way. Without Hollywood unions, there’d be no royalties, pensions, or health plans.

Author Interviews: Strike
The author with fellow scribblers Larry Moskowitz and Randy Anderson bring Disney to its knees during the 2007 strike.

In my second season on the show, I took an idea to Don for a drama set at the Supreme Court, focusing on the interactions between the justices and the law clerks. (It was loosely based on my Supreme Court thriller, Impact.) Don liked it; Les Moonves at CBS liked it; and it became the short-lived “First Monday.” Don and I co-wrote the pilot, which starred James Garner, Joe Mantegna, and Charles Durning and folded after 13 episodes, with some of the oldest demographics in the history of television. Or as I like to say, we were a hit with the crowd between Medicare and the mortuary.

Author Interviews: First Monday
The coveted “Created By” credit. Even more coveted if the show succeeds, which “First Monday” didn’t

H.S.: Any Author Interviews tips for writers interested in script writing?

Paul: Read Robert Towne’s script of “Chinatown.” Read “Story: Style, Structure, Substance, and the Principles of Screenwriting” by Robert McKee. And good luck.

H.S.: Any truth to the rumor that you steered a nuclear submarine?

Paul: One of the perks on “JAG” was that the writers got to hang out with the U.S. Navy, without having to be in actual danger. One day, we flew from a naval base to an aircraft carrier. The landing was pretty cool. Another day, we spent on a Los Angeles class attack submarine. And yes, they let me steer it for about 30 seconds. No international incidents occurred as a result.

H.S.: Finally, thank you for sitting down with Author Interviews.  What’s in your future?

Paul: I read a lot of emails from readers. The ones who don’t point out typos are evenly divided between writing a new Lassiter or another in the Solomon vs. Lord series. If anyone out there has an idea, I’m open to it and can always be contacted through my website. And, living in Miami, I am still trying to make the perfect mojito.

More information on the Paul Levine Website.