After Dark by Phillip Margolin

By Phillip Margolin

Laura Rizzati, a legislation clerk for Oregon superb court docket Justice Robert Griffen, is located slain overdue one evening within the abandoned courthouse. Her workplace is ransacked--but not anything appears lacking. There are not any suspects and no clues.

The following month Griffen himself is killed via a motor vehicle bomb within the driveway of his Portland domestic. This time, even though, there's a suspect: in a surprising flip of occasions, Abigail Griffen, megastar prosecutor within the Multnomah County District Attorney's place of work and estranged spouse of Justice Griffen, is charged with first measure murder.

With a similar gripping suspense that drove long gone, yet now not Forgotten onto the bestseller lists, this can be a advanced legalthriller with a really startling ending.
© 1995

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Extra resources for After Dark

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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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