A Painted House by John Grisham

By John Grisham

Till that September of 1952, Luke Chandler had by no means stored a mystery or instructed a unmarried lie. yet within the lengthy, sizzling summer time of his 7th 12 months, teams of migrant employees — and very harmful males — got here in the course of the Arkansas Delta to paintings the Chandler cotton farm. And without warning mysteries are flooding Luke’s world.

A brutal homicide leaves the city seething in gossip and suspicion. a gorgeous younger girl ignites forbidden passions. A fatherless child is born ... and somebody has began furtively portray the naked clapboards of the Chandler farmhouse, slowly, painstakingly, bathing the run-down constitution in glowing white. And as younger Luke watches the realm round him, he unravels secrets and techniques which can shatter lives — and alter his kinfolk and his city forever....

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Extra info for A Painted House

Sample text

By then he drags one foot slightly when he walks. An old football injury. Volner has large tombstone teeth, and thin­ ning, reddish hair streaked with a little gray. His shoulders are rounded and he has a lumbering gait. He has a few scars on his face, debris left over from a few barroom brawls and his high school days playing football. So far, then, we have a brief sketch of his physiology. Let's take a look at his sociological dimension, his back­ ground. Let's say he grew up in a suburb of Cleveland, Ohio.

O f course we will need to have a hero/detective who will solve the crime and bring the murderer to justice. The hero/detective is the most important character when it comes to actually writing the story, but when plotting the plot behind the plot, the murderer is the one who counts. We'll be deciding who we're going to have for a hero and for suspects and all the other assorted characters after we know the plot behind the plot. Much of the plot behind the plot may happen before the "point of attack," the moment the story begins from the reader's point of view.

Let's take a look at his sociological dimension, his back­ ground. Let's say he grew up in a suburb of Cleveland, Ohio. His father was a welder and his mother, a bookkeeper. He had no siblings. His mother and father did not get along. His Creating a Murderer father drank and his mother had a series of boyfriends she met in her church group or in the choir where she sang sec­ ond soprano. A seductive woman, she got a kick out of seducing churchgoers. She finally seduced the pastor and ran off with him when Forest was thirteen.

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