By Andrew F. Macdonald, Gina Macdonald
Scott Turow is a novelist, attorney, and humanist who has fused his passions, writing and the legislations, to create tough novels that elevate major felony concerns and try the justice of current legislation. In all of his books, Turow finds the ethical ambiguities that afflict either accuser and accused, and demanding situations his readers to think again their preconceived notions of justice. starting with One-L, his first released paintings concerning the first-year legislation institution event, Turow keeps to trap his readers' imaginations with books corresponding to Presumed Innocent and Burden of Proof.
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Additional resources for Scott Turow: A Critical Companion (Critical Companions to Popular Contemporary Writers)
Writers such as Scott Turow's Literary Heritage 39 John Feegel (Autopsy, 1975), Patricia Corn well (the Kate Scarpetta series, beginning with Postmortem, 1990), and Kathy Reichs (the Dr. Temperance Brennan series, beginning with Deja Dead, 1997) have made the coroneras-detective story a showcase of technological wonders, as applied science provides answers about rigor mortis, DNA from fingernail scrapings and hairs, the testimony of carpet threads, and so on. These are features Turow makes use of with the occasionally incompetent Japanese American Kindle County coroner, "Painless" Kumagai, who muddles evidence in Presumed Innocent and appears briefly in Reversible Errors.
Assistant Prosecutor Sonia (Sonny) Klonsky of The Burden of Proof, now a judge, presides over a court peopled with interconnected lives, including those of newspaper columnist Seth Weissman, black defense lawyer Hobie Tuttle, sixties leftist Loyell Eddgar, now a state senator, and his hapless son. The judge, herself, was a member of this group, and the case makes the judge recall her wildly idealistic communist mother and consider the future of her own young daughter, as Turow captures the revolutionary fervor of the 1960s and the compromises that generation made with time and age.
He wanted to tell those stories somehow in a novel but make the story his own. He ended up making the story about a court martial so he could draw on his own legal expertise and legal interests. By the summer of 2004 he had the very vague outlines of a plot, which he felt very happy with. The Life of Scott Turow: The Making of a Literary Lawyer 21 At this stage he starts his research. Throughout the process ideas come to him—then maybe a line of text. He describes the process as follows: I may look out the window and think I have an original way to describe the sky that day.