Storytelling for Lawyers (41 page)

expectations of,
18

Failla and,
111
–
12

good and evil and,
23
–
24

of
High Noon
,
22

identification of,
29
,
74
–
75

plot and,
12

theme for,
16

voice and,
117

audio evidence,
6

Auletta, Patty,
99

Austen, Jane,
60
–
63
,
192

backstory

in
The Estate of Karen Silkwood v. Kerr-McGee
,
30
–
31

grading law school examinations,
115
–
17

in
High Noon
,
75
,
78

in
Jaws
,
21

Back to the Future
(movie),
196

Bal, Mieke,
196
,
198

The Beatles,
159

beginning,
202
–
9
.
See also
opening

by Donovan,
93
–
100

ending and,
57
–
64

Failla and,
93
–
100

framing story at,
9

infinite number of,
38

Lodge on,
60
–
63

narrative profluence and,
11

narrative time and,
199
–
200

trouble in,
63

betrayal

Cochran and,
18

in
High Noon
,
22
,
26
,
79

in melodrama,
26

Bogart, Humphrey,
71

briefs

characters and,
83
–
84

in coerced confession cases,
164
–
75

for
Eddings v. Oklahoma
,
175
–
84

flash-forward in,
195

for
Miranda v. Arizona
,
174
–
75

for
Reck v. Ragen
,
172

for
Riggins v. Nevada
,
124
–
26

summary and,
127
,
128

voice in,
130

Brooks, Peter,
8
–
9

on ending,
58

on good and evil,
81
–
82

on melodrama,
68

on plot,
12

Bruner, Jerome, 1,
13
,
203
–
5
,
207

on jury,
40

buddy pictures,
99

burden of proof, in
The Estate of Karen Silkwood v. Kerr-McGee
,
33

Burke, Kenneth,
4
,
207

Butch Cassidy and the Sundance Kid
,
99

Capote, Truman,
119
,
130
–
33

pacing by,
198

cartoons, of Failla,
107
,
108
f
,
109
f

Castagna, Sonny,
104
,
110
,
111

Caulfield, Holden (fictional character),
139

causality

motivation and,
74

in plot,
11
–
12

reverse,
190

Chandler, Raymond,
63

changing characters,
77
–
78

character arc,
77

of Failla,
108
–
9

character development

in closing argument,
90
–
114

in
High Noon
,
22

in
This Boy's Life
,
82
–
89

characterization

in closing argument,
90
–
114

of Failla,
90
–
114

in movies,
80

in
This Boy's Life
,
82
–
89

characters,
69
–
114
.
See also specific characters

actions of,
84
–
85
,
95
,
99
,
103
–
7

advocacy and,
83
–
84

briefs and,
83
–
84

changing,
77
–
78

in closing argument,
4
–
5
,
90
–
114

description of,
83
,
85

dialogue of,
83
–
84
,
85
,
103
–
7

flat,
75
–
76
,
81
–
82
,
92

in
High Noon
,
75
–
82

irony of,
72

judges and,
74

jury and,
74

Lodge on,
72

Mehring on,
112

motivation of,
74

in movies,
70
–
71

in novels,
72

plot and,
70

as protagonists,
74
–
75

Roemer on,
65
,
72

round,
76
–
77
,
80
–
81
,
92

static,
77
–
78
,
81
–
82

theme and,
113
–
14

transformation of,
77

voice and,
118

child neglect,
145
–
47

The China Syndrome
(movie),
37
,
207

chronology.
See also
sequence of events

ellipsis,
195
–
97

flashback,
192
–
94

flash-forward,
194
–
95

narrative time and,
188
–
92

pacing and,
197
–
99

rhythm and,
197
–
99

Cimarron Syndrome,
37
,
38
,
55
,
56
,
141
,
207

cinema noir,
62

climax

Donovan and,
101
–
3

Failla and,
101
–
3
,
111

in
The Hand
,
15
–
16

in
High Noon
,
22
,
26
–
27
,
82

in
Jaws
,
26

closing argument

character development in,
90
–
114

characterization in,
90
–
114

characters in,
4
–
5
,
90
–
114

in criminal case,
90
–
114

by Donovan,
90
–
114

in
The Estate of Karen Silkwood v. Kerr-McGee
,
28
–
68

movies and,
5
–
7

by Spence,
28
–
68

in torts,
28
–
68

Clutter family.
See In Cold Blood

Coblyn v. Kennedy
,
9

Cochran, Johnnie

aphorisms by,
35

betrayal and,
18

theory of the case of,
18

coda,
13
,
16

in
The Estate of Karen Silkwood v. Kerr-McGee
,
56
–
57

in
High Noon
,
27

of meaning,
2
,
209

coerced confession cases, briefs in,
164
–
75

Cohen, Leonard,
159

complications.
See
progressive complications

computer simulations,
6

confrontation

by Donovan,
93
–
100

in
The Estate of Karen Silkwood v. Kerr-McGee
,
45
,
49
–
52

Failla and,
93
–
100

between good and evil,
24

in
High Noon
,
78

in
Jaws
,
54

conspiracy theory,
51

Donovan and,
104

constraints

in
The Estate of Karen Silkwood v. Kerr-McGee
,
29

on plot trajectory,
12
–
13

content, form and,
3

Cooper, Gary,
78
,
79
–
80

corporations, depictions of,
41
–
43

criminal case.
See
Donovan, Jeremiah; Failla, Louis “Louie”

danger

description and,
164
–
75

environment and,
164
–
75

settings and,
158
–
64

Davis, Peggy Cooper,
203

death penalty mitigation

in
Atkins v. Virginia
,
153

audience in,
65

mental retardation and,
134

story in,
65

description,
155
–
84

of characters,
83
,
85

danger and,
164
–
75

for events,
156

Lodge,
155

for plot,
156

for theme,
156

detachment,
123

with omniscient perspective,
148

dialogic relationship, with jury,
52
,
58
–
59

dialogue

of characters,
83
–
84
,
85
,
103
–
7

Donovan and,
103
–
7

Failla and,
103
–
7

Didion, Joan,
157
,
158
–
64

directors,
6

for
High Noon
,
21

discourse time

in
High Noon
,
197

narrative time and,
187
–
200

ordering of,
187
–
200

disillusionment plot,
61

Doctorow, E.L.,
70

Donovan, Jeremiah P.,
4
–
5
,
6
,
20
,
73
–
74
,
84
,
202
,
206
,
207
,
208

actions and,
103
–
7

beginning by,
93
–
100

character actions and,
95

climax and,
101
–
3

closing argument by,
90
–
114

confrontation by,
93
–
100

conspiracy theory and,
104

dialogue and,
103
–
7

ending by,
200

first-person perspective by,
139

flashback by,
193
–
94

hook by,
93
–
95

irony by,
104

judges and,
103

jury and,
95
–
98
,
103

motivation and,
95

opening by,
94

pacing by,
197
,
198

perspective by,
138
,
148
,
149
–
50

plot and,
91
,
101
–
3

progressive complications by,
92
,
111

rhetorical questions by,
104

steady state and,
96
–
100

stretch by,
127

strict liability and,
94
–
95

summary by,
127

trouble and,
96
–
100

Double Indemnity
(movie),
62
–
63

Dreyfuss, Richard,
24

Dwight (fictional character), in
This Boy's Life
,
85
–
89

Dylan, Bob,
72
,
159

Eddings, Monty,
175
–
84

Eddings v. Oklahoma

brief for,
175
–
84

flashback in,
193

efforts

in
The Hand
,
15

in plot,
13

Eighth Amendment,
134

ellipsis,
195
–
97

Ellroy, James,
119
,
120
–
23
,
121
f
,
140
,
143

The Emigrants
(Sebald),
164
–
75

Emma
(Austen),
60
–
63

flashback in,
192

empathy, perspective and,
147
–
52

ending,
202
–
9
.
See also
coda

beginning and,
57
–
64

Brooks on,
58

of
The Estate of Karen Silkwood v. Kerr-McGee
,
57
–
64

Gardner on,
58

of
The Hand
,
14

hero in,
64

in
High Noon
,
26
–
27