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Field Notes Carrie Genzel September 4, 2026
Lately, I’ve been thinking about how much of an investigation we don’t experience while we’re actually there.
It’s a strange thing to consider.
We can spend hours inside a location paying close attention to every sound, movement, response, and change around us.
We’re listening.
We’re watching.
We’re documenting.
And still, we miss things.
I’m reminded of that constantly when I edit our investigations for Echoes of the South.
I’ll be working through footage and suddenly hear something so clear that I stop.
I rewind.
Listen again.
Then I watch everyone in the room.
No reaction.
None of us heard it.
Sometimes it’s a voice.
Sometimes it’s a sound we can’t immediately account for.
Sometimes one of our personal microphones captures something the cameras across the room didn’t.
And suddenly, an investigation we thought we understood when we walked out the door has something new to tell us.
That may be one of my favorite parts of this work.
The investigation doesn’t necessarily end when we leave.
There is a lot happening during an investigation.
I’m listening to Morrighan.
I’m watching Jonathan.
I’m paying attention to the equipment.
I’m thinking about the history I researched beforehand and whether anything we’re hearing connects to it.
I’m asking questions while trying not to anticipate the answers.
And at the same time, I’m listening to the house.
There is only so much any of us can perceive at once.
That’s one reason we use so many different kinds of recording devices and equipment.
Each gives us another way to document what is happening.
Our cameras are recording.
Audio recorders are listening.
Our personal microphones are capturing our conversations.
Other devices are responding to changes in the environment.
We don’t know which one, if any, may capture something significant.
Sometimes the device that gives us the most interesting piece of evidence wasn’t the one we were paying attention to at all.
It was simply there.
Recording.
Waiting for us to discover it later.
I’ve started thinking of evidence review as almost a second investigation.
The first happens inside the location.
The second happens after we leave.
Except this time, I can stop everything.
I can rewind.
I can isolate a moment.
I can compare one recording against another.
I can watch what everyone was doing when a sound occurred.
I can determine whether one of us moved, spoke, coughed, bumped something, or made a noise we simply forgot about.
That part is important.
Finding something unusual doesn’t automatically make it paranormal.
Evidence review is as much about ruling things out as it is about finding something we can’t explain.
But every once in a while, I reach a moment that makes me sit up a little straighter.
Because there it is.
Something none of us knew happened.
Those discoveries feel different.
There’s no reaction from us to influence how I hear the moment.
No one saying, “Did you hear that?”
No one interpreting it in real time.
Whatever was captured happened while all of us continued on, completely unaware.
What fascinates me most is what happens when those discoveries begin connecting to other parts of the investigation.
A sound by itself may mean very little.
A word by itself may raise more questions than it answers.
But then I find something else.
A response from earlier in the night.
Something Morrighan picked up.
A piece of historical research.
Another recording from a different part of the location.
And slowly, things begin to connect.
Not every investigation gives us a complete story.
In fact, most don’t.
We are spending a few hours inside something that may have been unfolding for decades, or much longer.
There are limits to what we can learn in that amount of time.
Sometimes we have the opportunity to return.
Sometimes we don’t.
So when something emerges later during evidence review, it can give us another piece of a story we thought we had already left behind.
And occasionally, it changes my understanding of what happened while we were there.
The cameras may stop recording when we leave, but that doesn’t necessarily mean the communication stops.
Morrighan sometimes continues receiving information after an investigation has ended.
That adds another layer to the process.
Something that didn’t make sense at the location may become clearer later.
A person we couldn’t identify may offer more information.
An interaction that seemed isolated may turn out to have been connected to something larger.
There is a temptation to want everything to happen neatly within the hours we’ve scheduled for an investigation.
We arrive.
We communicate.
We get our answers.
We leave.
But that isn’t how this work behaves.
Communication doesn’t follow a production schedule.
Neither does understanding.
Sometimes the most important information arrives after we thought the conversation was over.
Editing has changed the way I listen during investigations.
Every time I discover something we missed, I’m reminded of how much can happen around us without our awareness.
A microphone can hear something my ears didn’t.
A camera can preserve a moment none of us noticed.
One piece of equipment can remain quiet while another captures something entirely different.
And even with all of it running, there will always be things we miss.
I think there’s something important in accepting that.
We aren’t walking into these locations expecting to capture everything.
We couldn’t.
We’re trying to document as much as we can, ask thoughtful questions, follow what presents itself, and then give everything we collected the attention it deserves afterward.
That last part matters just as much as being there.
Maybe more than I understood when we began.
There is a moment at the end of every investigation when we pack up the equipment, turn off the lights, and close the door behind us.
Physically, we’re finished.
But I no longer think of that as the end.
There are hours of recordings waiting to be heard.
Footage waiting to be watched.
Moments waiting to be reconsidered with information we didn’t have at the time.
And sometimes, voices waiting to be noticed.
I love that part of the process.
There’s something extraordinary about sitting at my desk weeks later and suddenly discovering that while we were busy looking for an answer in one part of the room, something else may have been trying to reach us from another.
It reminds me not to assume that what we experienced was everything that happened.
We only know what we noticed.
The record may have more to say.
And sometimes, long after we’ve left the location, we finally hear it.
Field Notes are personal reflections from my ongoing investigations, historical research, and conversations across the South. They are not meant to provide definitive answers, only honest observations gathered along the way.
Until next time…
Stay close.
About the author call_made
Carrie Genzel is an investigative storyteller, producer, and the creator of Echoes of the South, an original Arcwell Productions series exploring Southern haunted history, folklore, and unexplained phenomena. Through field notes, long-form narrative investigations, and witness accounts, she documents the places where memory lingers and stories refuse to stay buried. Her work centers on location-based storytelling, lived experience, and the emotional residue left behind when history and legend collide.
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