{"id":3628,"date":"2023-01-02T17:26:23","date_gmt":"2023-01-02T17:26:23","guid":{"rendered":"https:\/\/law.temple.edu\/aer\/?p=3628"},"modified":"2023-01-02T17:27:21","modified_gmt":"2023-01-02T17:27:21","slug":"and-now-for-sometihng-completely-different","status":"publish","type":"post","link":"https:\/\/law.temple.edu\/aer\/2023\/01\/02\/and-now-for-sometihng-completely-different\/","title":{"rendered":"AND NOW FOR SOMETHING COMPLETELY DIFFERENT"},"content":{"rendered":"

In a time before the open and watchful eye of technology, in an unknown part of the Midwest, in a town of a few hundred people, in the stillness of a cool and windless night, in four different rooms of a well-known farmhouse.\u00a0 In four blasts of a borrowed shotgun.\u00a0 In the Clutter family\u2019s house.\u00a0 Every life there was taken.\u00a0 In cold blood.\u00a0 \u00a0<\/span><\/p>\n

If you\u2019ve read Truman Capote\u2019s most famous \u201cnon-fiction novel\u201d of that very famous title, you have read what many consider to be a classic of American literature and the finest true-crime book ever written.\u00a0 It\u2019s a book that\u2019s not simply well written, it\u2019s a series of stories exceedingly well told.\u00a0 So, for my entry this month and for my next entry coming up in March, I want to look at 6 things Capote did that translate perfectly to storytelling in the courtroom and teaching storytelling in the classroom.\u00a0 It\u2019s something completely different, so I hope you\u2019ll permit my indulgence.\u00a0 I must warn the reader before going forward: I am going to try not spoil a whole lot for those who haven\u2019t read the book, but that might prove difficult.\u00a0 \u00a0<\/span><\/p>\n

Setting\u00a0<\/span><\/b><\/p>\n

I tend to think that a student or young lawyer\u2019s chief struggles with setting are part of the much larger tension between the easy-to-do \u201cwhat\u201d of factual landscaping and the often-excluded \u201cwhy?\u201d Lawyers know facts.\u00a0 However, we aren\u2019t always purposeful in why we share them.\u00a0 Within a few pages of the book, you immediately get the sense Capote isn\u2019t sharing facts because he knows them, but because they are precious pieces that are part of a living framework.\u00a0 A poured-concrete foundation with the future of a terrible and approaching earthquake ahead of it. \u00a0\u00a0It\u2019s how I imagine hand-woven lace is made if someone plans out the intricacy and sublimity of it, but makes it intricate and sublime only for the sake of the greater horror of tearing it to shreds.\u00a0 Capote doesn\u2019t begin the book with the usual foreboding of \u201cIt was a dark and stormy night.\u201d\u00a0 He begins it by convincing you the town of Holcomb and the farmhouse of the Clutter family are too remote for evil to ever find and too pure for horror to ever touch.\u00a0 \u201cLike the waters of the river, like the motorists on the highway, and like the yellow trains streaking down the Santa Fe tracks, drama, in the shape of exceptional happenings, had never stopped there.\u201d[1]<\/span><\/a>\u00a0 I think we grow as storytellers when the setting we develop isn\u2019t simply a detached location in which something happens but, rather, a place where even the pebbles of the ground are shaken by what happens nearby.\u00a0 Capote gives the sense there isn\u2019t a single patch of ground in the tiny town of Holcomb that the victim\u2019s blood doesn\u2019t ultimately touch.\u00a0 \u00a0<\/span><\/p>\n

Slow Burn\u00a0<\/span><\/b><\/p>\n

New storytellers often suffer from an unwitting urgency; a desire to keep their listeners engaged by blasts of electrical impulses.\u00a0 If the law student\u2019s story shows a detective finding a fingerprint or picking up tissue samples, the student\u2019s very next string of words reveals their respective owners.\u00a0 With that approach comes this unspoken assumption that the riders of a rollercoaster are only engaged with the experience on their way down the first big hill.\u00a0 Great storytelling, however, is more climb than fall.\u00a0 In the first 50 pages of the book, Capote writes in parallel climb between killers and victims\u2014 and we observe the parallel like the slow raising of a guillotine over its unobservant prisoner.\u00a0 He details the killers\u2019 drive west.\u00a0 We see them purchase their tools; gloves, masks, rope.\u00a0 They inch closer to Holcomb and stop again for another bit of preparation.\u00a0 We are left to wonder if the next stop is the Clutters\u2019 farm, as we know that stop is<\/i><\/b> coming.\u00a0 In an alternating parallel to this narrative, we learn about the Clutter family and our attention to them becomes a banked investment into the lives that will be taken.\u00a0 \u00a0<\/span><\/p>\n

I\u2019m fortunate enough that a few of the problem sets my school uses for Basic Trial Advocacy are particularly suited to this sort of parallel storytelling.\u00a0 Invariably, I have to teach it, and model it, as the straight lines of a linear story are far more intuitive to students and easier for them to execute.\u00a0 The growth of the student-storyteller occurs when they see that wherever there is a story of an injustice in the law, there will always be (at least) two stories to tell: the story of the ax as well as the story of the wood on the block.\u00a0 The stories of each have their own proper pacing\u2014and it\u2019s always slower than the student-storyteller tells it in the first try. \u00a0They have to learn that.\u00a0<\/span><\/p>\n

The Wait\u00a0<\/span><\/b><\/p>\n

\u00a0A technique related to the one immediately above is the willful resistance to spilling the part of the story the listener wants to hear the most; and then exercising the proper wisdom in how that part of story empties its contents.\u00a0 Capote reveals the mere fact of the murders of the Clutter family early on.\u00a0 He shows the aftermath just this side of page 60 as the first person on-scene enters the farmhouse to find a purse curiously laying on the kitchen floor.\u00a0 However, we don\u2019t hear about each murder\u2014each terrible blast of the shotgun, each terrible plea of each victim\u2014until very near the end of the book.\u00a0 At this point, Capote has already long before sown and grown within us the nagging questions of \u201cWhat?\u201d and \u201cHow?\u201d and, the biggest of them all, \u201cWhy?\u201d\u00a0 Why does a killer point a gun at the face of another human being and pull the trigger?\u00a0 And Capote doesn\u2019t just answer that in the narrator\u2019s objective language.\u00a0 We hear it from the killer\u2019s mouth and it\u2019s a kind of payoff for our investment in the story.\u00a0 As awful as that sounds, the killer\u2019s own story is the answer to our most nagging question.[2]<\/span><\/a>\u00a0 \u00a0\u00a0\u00a0<\/span><\/p>\n

We move through a story and work toward the ending because we find we can\u2019t move on without answers.\u00a0 Well-formed, properly sown questions become the listener\u2019s momentum.\u00a0 I know you read this and you instantly recall students and lawyers not<\/i> waiting to give key details or story segments. \u00a0The stage lights have barely come on and they\u2019re already ripping the curtains back. \u00a0I think it\u2019s because we fear that an answer that doesn\u2019t immediately follow a question will never take root\u2014as if it won\u2019t become a part of the evidence of our case if we wait to reveal it.\u00a0 Our instincts as consumers of stories should shout at us in a strong rebuke.\u00a0 If the hair found at the murder scene carries the defendant\u2019s DNA, the jury will<\/i><\/b> wait to hear it.\u00a0 Heck, they even know it\u2019s coming\u2014which is why<\/i><\/b> they\u2019ll wait.\u00a0 If I tell the jury the defendant sailed through a red light without braking, I can first tell the story of how the light was red.\u00a0 It\u2019s an important story that is the threshold to liability.\u00a0 I will prove it was red.\u00a0 I can take the jury to the fact of the defendant\u2019s very basic wrong: she went through the red light.\u00a0 The real question\u2014how and why did the defendant miss a red light?\u2014will hang in their minds like restless bats in the waning daylight.\u00a0 We can wait.\u00a0 Just hang on to it a little longer.\u00a0 We have shown them the footage of the intersection and the white Mercedes piercing its edge.\u00a0 But they can wait. They can hang out for a good, long think before we bring in the evidence of the defendant\u2019s keystrokes and the text message that was never sent.\u00a0 \u00a0<\/span><\/p>\n

————————<\/p>\n

\n

[1]<\/span><\/a> Truman Capote, In Cold Blood <\/i>5 (Vintage International ed. 2012).\u00a0 <\/span><\/p>\n<\/div>\n

\n

[2]<\/span><\/a> For some further reading on why we\u2019re drawn to darker things, I\u2019ve written a bit about the odd and unsettling wonder we humans experience with the morbid.\u00a0 Grant Rost Campfires, Car Accidents, and the Cosmos: Persuasive Appeals to Jurors Through the Human Appetite for Wonder.\u00a0<\/i>4 Stetson J. Advoc. & L. 54 (2017)<\/span><\/p>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

In a time before the open and watchful eye of technology, in an unknown part of the Midwest, in a town of a few hundred people, in the stillness of a cool and windless night, in four different rooms of a well-known farmhouse.\u00a0 In four blasts of a borrowed shotgun.\u00a0 In the Clutter family\u2019s house.\u00a0<\/p>\n","protected":false},"author":31,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"generate_page_header":"","_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[5],"tags":[],"coauthors":[203],"class_list":["post-3628","post","type-post","status-publish","format-standard","hentry","category-brain-lessons"],"yoast_head":"\nAND NOW FOR SOMETHING COMPLETELY DIFFERENT - Advocacy and Evidence Resources<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/law.temple.edu\/aer\/2023\/01\/02\/and-now-for-sometihng-completely-different\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"AND NOW FOR SOMETHING COMPLETELY DIFFERENT - 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