Storytelling for Lawyers (43 page)

irony in,
27

melodrama in,
20

Moby Dick
and,
21

motivation in,
41

plot in,
20
–
27

Roemer on,
21

sequence of events in,
24

setting for,
156
–
57

steady state in,
23

theme in,
20
–
21

trouble in,
23

villain in,
24
–
25

Jensen, Max,
128
–
30
,
141

pacing and,
197

Johns, Jackie,
104
,
110
,
111

Jones, William,
134
–
37

judges

characters and,
74

Donovan and,
103

sentences by,
74

jury

Bruner on,
40

characters and,
74

confusion of,
38
–
39

dialogic relationship with,
52
,
58
–
59

Donovan and,
95
–
98
,
103

in
The Estate of Karen Silkwood v. Kerr-McGee
,
32
–
33
,
51
,
55
–
59

expectations of,
6
,
38

as hero,
38
–
41

story and,
6

Kane, Amy (fictional character), in
High Noon
,
21
,
77
,
80
–
81

Kane, Will (fictional character), in
High Noon

Failla and,
110

as hero,
78
–
80

Kerr-McGee.
See The Estate of Karen Silkwood v. Kerr-McGee

King, Rodney,
127

language of money,
63
,
66

law school examinations, grading,
115
–
17

Lawyering Theory Colloquium,
202
–
4

“Lay Lady Lay” (Dylan),
159

legal rules, theme and,
17

Lenny (fictional character), in
Of Mice and Men
,
135

Leventhal, Brad,
150
–
53

Lewis, John L.,
102

liability.
See
strict liability

lifelikeness.
See
verisimilitude

Lodge, David,
13
,
14
–
16

The Art of Fiction
by,
123
–
24

on beginning,
60
–
63

on characters,
72

on description,
155

on perspective,
140

on rhythm,
119

on summary,
127

logic.
See
narrative logic

loyalty, in
High Noon
,
22

Mafia.
See
Failla, Louis “Louie”

Mahony, Edmund,
103

Mailer, Norman,
119
,
141
,
142
–
43
,
147
–
48

pacing by,
197

on scene,
128
–
30

Malcolm, Janet,
150
–
52

The Maltese Falcon
(movie),
71

Mamet, David,
8
,
176

Manson murders,
157
,
158
–
69

markers, for steady state,
38

Marvel Comics,
20

McCourt, Frank,
119
,
143
–
44

McKee, Robert,
66

meaning

coda of,
2
,
209

in
High Noon
,
22

of ministory,
146

narrative logic with,
14

perspective and,
142
–
47

in plot,
13

Mehring, Margaret,
80

on characters,
112

Mellaril,
124
–
26

melodrama,
18
–
19

antagonism in,
20

betrayal in,
26

Brooks on,
68

ending of,
64

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

framing story in,
65
–
66

good and evil in,
19

in
Jaws
,
20

past-tense story of,
54

plot trajectory in,
65
,
66

premature ending in,
24

Roemer on,
19

in torts,
19
,
118

villain in,
36
,
65
–
66

mental retardation,
134

Michaels, Leonard,
14
–
16

Miller, Frank (fictional character), in
High Noon
,
23
,
25
–
26
,
79
–
82

setting for,
156

Miller, Henry,
1
,
3
,
117

Minding the Law
(Amsterdam and Bruner),
203

ministory

in
The Estate of Karen Silkwood v. Kerr-McGee
,
33
–
35

meaning of,
146

Miranda, Ernesto,
174
–
75

Miranda v. Arizona
,
174
–
75

Moby Dick
,
21

money, language of,
63
,
66

Morales, Tito,
91
,
93
,
102
,
103
,
104
–
6
,
113
,
150

pacing and,
197
,
198

morals, by Aesop,
13

motivation

causality and,
74

of characters,
74

Donovan and,
95

of Failla,
95
,
107

in
Jaws
,
41

in movies,
112

in novels,
74

movie directors,
6

for
High Noon
,
21

movies.
See also specific movies

buddy pictures,
99

characterization in,
80

characters in,
70
–
71

closing arguments and,
5
–
7

The Estate of Karen Silkwood v. Kerr-McGee
and,
29
–
30

Failla and,
110
–
14

motivation in,
112

perspective in,
138

plot in,
70

rhythm in,
198
–
99

sequence in,
12

theme in,
17
,
113
–
14

mud springs, analogies of,
34
–
35
,
52

My Dark Places
(Ellroy),
119
,
120
–
23
,
121
f
,
143

third-person objective perspective in,
140

myth, in
The Estate of Karen Silkwood v. Kerr-McGee
,
29
–
30
,
68

narrative logic,
44
,
64

with meaning,
14

perspective for,
141
–
42

of plot,
12
–
13
,
18

sequence of events and,
194

of story,
141

narrative profluence

beginning and,
11

in plot,
11
–
12
,
64

narrative theme.
See
theme

narrative time,
185
–
201

beginning and,
199
–
200

chronology and,
188
–
92

discourse time and,
187
–
200

ending and,
199
–
200

framing story and,
201

sequence of events and,
186

“Narrative Time” (Ricoeur),
8

“The Nature of Anthropological Understanding” (Geertz),
69

Nesbitt, Eric,
134
–
37
,
198

Nevas, Alan H.,
103
,
206

Norton, Ed (fictional character),
93
,
98

novels

characters in,
72

motivation in,
74

plot trajectory of,
8

Oates, Joyce Carol,
155

Of Mice and Men
(Steinbeck),
135

omniscient perspective,
142
–
43

believability of,
152

detachment with,
148

by Leventhal,
150
–
51

On Directing Film
(Mamet),
8

opening

by Donovan,
94

Failla and,
94

by Leventhal,
150
–
51

plot trajectory and,
8

pacing

chronology and,
197
–
99

of plot,
197
–
99

paratexts,
6

past-tense story,
6

in
The Estate of Karen Silkwood v. Kerr-McGee
,
29
,
54

of melodrama,
54

“Pentad,”
4

perlocutionary act,
30

personal disposition,
73

perspective,
5

in arguments,
139
–
40

to control flow of information,
141
–
42

empathy and,
147
–
52

events and,
152
–
53

first-person,
138
–
39

Gardner on,
138
,
139

Lodge on,
140

meaning and,
142
–
47

in movies,
138

for narrative logic,
141
–
42

Sebald and,
173
–
75

style and,
138
–
53

to suggest outcome,
142
–
47

third-person objective,
140

third-person subjective,
139

Pilgrim, Billy (fictional character), in
Slaughterhouse Five
,
187
–
200

plot,
4
–
5
,
8
–
27

advocacy and,
11
,
28

audience and,
12

austere definition of,
13
–
16

Brooks on,
12

causality in,
11
–
12

characters and,
70

in closing argument in torts case,
28
–
68

definition of,
11

description for,
156

disillusionment,
61

Donovan and,
91
,
101
–
3

ending and,
12
–
13

environment for,
156

in
The Estate of Karen Silkwood v. Kerr-McGee
,
29
,
64

events in,
11
,
12
,
13

Failla and,
101
–
3

of
The Hand
,
14
–
16

in
High Noon
,
20
–
27

in
Jaws
,
20
–
27

in movies,
70

narrative logic of,
12
–
13
,
18

narrative profluence in,
11
–
12
,
64

pacing of,
197
–
99

sequence of,
11
,
12
,
13

setting for,
156

themes and,
16

voice and,
118

plot goals,
112
–
13

struggle toward,
113

plot trajectory

constraints on,
12
–
13

in melodrama,
65
,
66

of novels,
8

opening and,
8

point of view.
See
perspective

Poo-tee-wee,
199

popular culture,
6

Porter, Katherine Anne,
84

post hoc ergo propter hoc fallacy,
189
–
90

premature ending, in melodrama,
24

present-tense voice,
6

in
The Estate of Karen Silkwood v. Kerr-McGee
,
29
,
38
–
39
,
52

Prince, Gerald,
189
–
90
,
195
,
198
–
99

proem,
32

in
The Estate of Karen Silkwood v. Kerr-McGee
,
58
–
59

profluence.
See
narrative profluence

progressive complications

of antagonist,
24

by Donovan,
92
,
111

in
The Estate of Karen Silkwood v. Kerr-McGee
,
41
–
43

in
High Noon
,
25
–
26