The black plastic and the memory of her deceased father foreshadow key discoveries she will make later. Tracy recalls that her father used to do the same.
Fin ignores her question as he lays a black plastic sheet over the ground and explains the importance of getting on top of weeds before winter. Tracy asks him to testify at a hearing that might free his former client from prison. Fin is in his garden preparing the soil for winter. Tracy approaches DeAngelo Fin, a retired lawyer who twenty years earlier defended the man convicted of killing her sister. However, she doesn’t realize the consequences of truth can be highly personal. Now, she runs after the truth so hard she plows over cherished memories and people she loves. Old friends and neighbors have hidden the truth from her for two decades. His plot in a nutshell: truth can be complicated.ĭetective Tracy Crosswhite wants the truth about her sister’s twenty-year-old murder, and she pursues it with her whole being. The moral premise of his story is truth liberates, and lies ensnare. In his NYT bestselling legal thriller, My Sister’s Grave, Robert Dugoni crafts a strong Moment of Grace sequence that he underscores with weather and color. Rejecting grace will speed her story toward the “or else” (dire consequences). If she engages the moral premise as something intensely personal to her, her progress toward the story’s physical goal accelerates. Finally, the Lead either rejects or accepts the offer of grace. The offer of grace is followed by a time of bargaining or weighing the cost of applying the moral premise on a personal level. The offer of grace comes when the Lead confronts the personal consequences of the “or else.” She must own the moral premise as fundamental to her character, or else she will not be able to achieve the goal of her physical journey. During the Moment of Grace, the Lead’s physical and psychological journeys merge, lifting the sagging storyline.Ī well-crafted Moment of Grace begins near the middle of a story and contains three parts. Nothing is more critical to the success of a story than the Moment of Grace. There’s another way to energize the middles of your stories. We become tempted to add extra scenes solely to ratchet up tension. We start to worry that readers will grow impatient. The Lead character has worked through, around, and over obstacles for almost half the story, having made little progress. Stories often begin to lose steam near the middle.
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