Storytelling for Lawyers (42 page)

of melodrama,
64

narrative time and,
199
–
200

plot and,
12
–
13

purposeful motion toward,
64

sequence of events in,
13
,
64

villain in,
64

environment,
155
–
84

danger and,
164
–
75

for events,
156

for
Jaws
,
156
–
57

for plot,
156

for theme,
156

as villain,
175
–
84

The Estate of Karen Silkwood v. Kerr-McGee
,
118
–
19
,
207

anecdotes in,
33
,
56
–
57

antagonist in,
35
,
59
,
64
–
68

audience in,
32
–
33

backstory in,
30
–
31

burden of proof in,
33

closing argument in,
28
–
68

coda for,
56
–
57

confrontation in,
45
,
49
–
52

constraints in,
29

corporations in,
41
–
42

ending of,
57
–
64

Failla and,
101

genre of,
37
–
38

good and evil in,
37
–
38
,
42
,
54

hero in,
36
,
38
–
41
,
46
–
48

High Noon
and,
45

hooks in,
59

Jaws
and,
41
–
42
,
45

jury in,
32
–
33
,
51
,
55
–
59

melodrama of,
28
–
68

ministory in,
33
–
35

movies and,
29
–
30

myth in,
68

past-tense story in,
54

perspective in,
141

plot in,
64

present-tense voice in,
29
,
38
–
39
,
52

proem in,
58
–
59

progressive complications in,
41
–
43

punitive damages in,
31
,
35

rebuttal in,
38
,
40
,
52
–
55

sequence of events in,
46

steady state in,
37
–
38
,
59

strict liability in,
33
–
34

theme for,
33
–
36
,
64

theory of the case for,
33
–
36

trouble in,
37
–
38
,
67

villain in,
35
,
41
–
46
,
49
–
50

voice in,
118
–
19

zigzagging in,
46

events.
See also
sequence of events

description for,
156

environment for,
156

perspective and,
152
–
53

in plot,
11
,
12
,
13

settings for,
156

evidence, into story,
20

evil.
See
good and evil

Executioner's Song
(Mailer),
119
,
128
–
30
,
141

perspective in,
147
–
48

expectations

of audience,
18

genre and,
18

of jury,
6
,
38

facts, for arguments,
2
–
3

Failla, Louis “Louie,”
4
–
5
,
6
,
73
–
74
,
84
,
207
,
208

actions and,
99
,
103
–
7

audience and,
111
–
12

beginning and,
93
–
100

cartoons of,
107
,
108
f
109
f

character actions and,
95

character arc of,
108
–
9

characterization of,
90
–
114

climax and,
101
–
3
,
111

closing argument in,
90
–
114

confrontation and,
93
–
100

dialogue and,
103
–
7

flashback and,
193
–
94

hook and,
93
–
95

inner contradiction of,
113

motivation of,
95
,
107

movies and,
110
–
14

opening and,
94

pacing and,
197
,
198

perspective and,
138
,
148
,
150

plot and,
101
–
3

as protagonist,
92
,
96
–
97

sentences and,
90

steady state and,
96
–
100

strict liability and,
94
–
95

summary for,
127

trouble and,
96
–
100

false imprisonment,
9
–
10

Farrell, Jack,
99
,
105
,
113

Field, Syd,
8

on hero,
36

Finn, Huckleberry (fictional character),
139

first-person perspective,
138
–
39

Fitzgerald, F. Scott,
72

“Five Key Terms of Dramatism,”
4
–
5

flashback,
192
–
94

flash-forward,
194
–
95

flat characters,
75
–
76

Failla as,
92

in
High Noon
,
81
–
82

Ford, Ford Madox,
60
–
63

Foreman, Carl,
21

form, content and,
3

Forster, E.M.,
75

The Foundations of Screenwriting
(Field),
8

framing story

at beginning,
9

for
The Hand
,
14

in melodrama,
65
–
66

narrative time and,
201

free will,
73

Freud, Sigmund,
74

Frye, Northrop,
19

Gagliano, Anthony C.,
182
–
83

Gardner, John,
12

on ending,
58

on perspective,
138
,
139

on setting,
155

on theme,
16
,
17

Geertz, Clifford,
69

genre.
See also
melodrama

of
The Estate of Karen Silkwood v. Kerr-McGee
,
37
–
38

expectations in,
18

of
High Noon
,
21

in
Jaws
,
20
–
21

theme and,
17

Gilley, Billy Frank,
176
–
84

Gilmore, Gary,
128
–
30
,
142
–
43

pacing and,
197

perspective of,
147
–
48

good and evil

audience and,
23
–
24

Brooks on,
81
–
82

confrontation between,
24

in
The Estate of Karen Silkwood v. Kerr-McGee
,
37
–
38
,
42
,
54

in
High Noon
,
81
–
82

in
Jaws
,
21
,
81
–
82

in melodrama,
19

Roemer on,
42

struggle between,
24

in torts case,
65

The Good Soldier
(Ford),
60
–
63

grading law school examinations,
115
–
17

Grasso, Billy “The Wild Guy,”
91
,
93
,
104
–
6
,
111
,
114

flashback and,
193

subplots and,
92

as villain,
92
,
97
–
100

Greenstreet, Sydney,
71

The Hand
(Michaels)

framing story for,
14

plot of,
14
–
16

Harrison, Kathryn,
157
,
175
–
84

“Helter Skelter” (The Beatles),
159

Hendricks, Larry,
131
–
33

pacing and,
198

Heraclitus,
71

hero

antagonist and,
36

character of,
36

in ending,
64

in
The Estate of Karen Silkwood v. Kerr-McGee
,
36
,
38
–
41
,
46
–
48

in
Jaws
,
20
,
21
,
24
–
25

jury as,
38
–
41

Kane, Will, as,
78
–
80

in melodrama,
19

protagonist as,
78
–
80

rebuttal and,
40

Roemer on,
79

Silkwood as,
36

theme of,
20

villain and,
66

Wharton on,
79

High Noon
(movie)

backstory in,
75
,
78

betrayal in,
22
,
26
,
79

character development in,
22

characters in,
75
–
82

climax in,
22
,
26
–
27
,
82

coda in,
27

confrontation in,
78

discourse time in,
197

ending in,
26
–
27

The Estate of Karen Silkwood v. Kerr-McGee
and,
29
,
45

Failla and,
97
,
101
,
110

flashback in,
192
–
93

flat characters in,
81
–
82

genre of,
21

good and evil in,
81
–
82

Kane, Amy, in,
21
,
77
,
80
–
81

Kane, Will, in,
78
–
79
,
110

loyalty in,
22

Miller, Frank, in,
23
,
25
–
26
,
79
–
82

plot in,
20
–
27

progressive complications in,
25
–
26

Ramirez in,
77

round characters in,
80
–
81

setting for,
156

static characters in,
81
–
82

steady state in,
23
,
25

subplots in,
25
–
26

theme of,
22

townspeople in,
21
–
22
,
26
,
37
,
41
,
43
–
46
,
75

transformation in,
26
–
27

trouble in,
23

villain in,
20

Hitchcock, Alfred,
19
,
24

“The Honeymooners” (TV program),
93
,
98

hook

in
Angela's Ashes
,
143
–
44

by Donovan,
93
–
95

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

Failla and,
93
–
95

human agency,
14

identification, of audience,
29
,
74
–
75

illocutionary act,
30

In Cold Blood
(Capote),
119
,
130
–
33

pacing in,
198

inner contradiction

of Failla,
113

of protagonists,
112

irony

of characters,
72

by Donovan,
104

in
Jaws
,
27

Jaws
(movie)

backstory in,
21

climax in,
26

confrontation in,
54

environment for,
156
–
57

The Estate of Karen Silkwood v. Kerr-McGee
and,
29
,
41
–
42
,
45

Failla and,
97
,
101
,
110

genre in,
20
–
21

good and evil in,
21
,
81
–
82

hero in,
20
,
21
,
24
–
25