Drafting Briefs to a Court

A brief to a court – broadly defined as a memorandum of law intended to persuade a court of the legal correctness of a position you have asserted on behalf of a client in a litigated case.

These resources exemplify the components of a conventional structure for a brief to a trial court, and a paradigm for a legal argument.

Narratives in Law: the Statement of Facts in a Trial Brief

The Statement of Facts in a brief to a court performs specific work: we can think of it as a strategic staging or presenting of facts in a way that addresses the legal issues in a case, without overtly arguing them.

Significance of a Well-Crafted Statement

Typically, a judge will read the Statement of Facts in a brief before reading the Argument; a well-crafted Statement of Facts that engages in covert persuasion can influence the way in which the arguments will be evaluated. At its best, a Statement of Facts will have the attributes of a narrative, including a plot line based on a certain temporality, a series of events, a cast of characters, and a point of view. If it is skillfully crafted, it will elicit interest and build dramatic tension.

Distinguishing Features

Unlike other narratives, though, a Statement of Facts in a brief is subject to parameters that are based on the elements of the law that apply. The facts you choose to include in the Statement of Facts should bear a relationship to the factual criteria in the case law or statute that governs the legal issue.

Law and Facts: An Interplay

Thus, in the Statement of Facts there is interplay between law and fact. The Statement of Facts should be written with a consciousness of what will be argued in the Argument; there should be a correspondence of facts in both, though the language, level of detail, and tone will differ. With these parameters in mind, consider the possible approaches to developing a narrative that you’ve encountered in other contexts.

Constraints and Opportunities

Narratives can be character-driven, event-driven, place-centered. Narratives can unfold in chronological order of events, through flashbacks, or through some other point in time that is neither at the beginning nor the end of the sequence of events constituting “what happened.” Narratives can be told from the perspective of a particular person, including the narrator or some other person, or a narrative can shift its perspective in the course of the telling.

In a Statement of Facts in a brief, the need to present a compelling, coherent plot or story line that addresses the legally significant facts will limit some of the options otherwise available to storytellers. The narrative should “flow” (e.g., it would be risky here to experiment with post-modern approaches that fracture time frames or juxtapose perspectives – it won’t accredit your client’s case if you confuse or disorient the reader!). The reader should be able to get a clear sense of “what happened,” though the choice of where to begin the narrative (i.e., what, in the telling of it, constitutes the beginning) can be critical to creating a compelling effect.

Client Perspective

As always, you would need to think strategically when choosing where to “begin.” It’s also crucial to narrate in a way that embeds the point of view of your client (and that avoids highlighting the perspective or the experience of the opposing party). Typically, presenting a narrative from your client’s perspective involves making your client or its representative the subject or agent in the storyline – the focus of attention and action.

The Statement of Facts vs. The Complaint

The Statement of Facts is not the only written factual narrative that advocates produce in a litigated case. The Complaint is also a source of facts, and in some instances, such as in a motion to dismiss, it is the only source available to the parties, because its allegations are taken as true. The Complaint serves legal and rhetorical functions that are distinct from the way in which a Statement of Facts works. The legal function of the Complaint is primary: it alleges facts necessary to state all elements of a legal claim.

A Literary Approach

Thus, it is written from the perspective and within the knowledge base of the pleader. Secondarily, the Complaint may have a persuasive or narrative function – when it is framed with more detail. As writing, it is its own legal genre. Its form has legal significance: the factual substance must be set out in separately numbered paragraphs; each paragraph should deal with one idea that can be admitted or denied in an answering pleading; the language should be clear and precise. The Complaint may not present a narrative that is artful in the telling, but at the very least it purports to narrate a legal story – its facts fit within all the requirements prescribed for a cause of action.

Enhancing the Statement with Narrative Techniques

If the Complaint is fairly specific, it may also get across a factual narrative – what happened and to whom – and usually this presentation of facts will occur in chronological order. Yet, given these considerations of function and form, the Complaint is rarely a good model of a narrative for the Statement of Facts. Even when working within the more specialized modes and genres of legal writing, it’s important for advocates to cultivate a sensibility about storytelling and language that is literary.

The goal, then, for plaintiffs, is to create an engaging narrative in the Statement of Facts, without simply replicating the elements and the organization of the Complaint. The challenge for both plaintiffs and defendants is to identify a credible plot line, which can derive from a variety of sources: from the facts of the case; from the legal doctrine itself – from ideas that emerge from the cases or statutory criteria; from legislative policy; or from the accumulated bank of human experience, and the frameworks or values prevalent in a culture.

Recommended Reading

For additional discussion of the ways in which narratives function in law, see Anthony G. Amsterdam and Jerome Bruner, Minding the Law (Harvard University Press, 2000), particularly chapters 4 and 5.

Use of Paragraphs and Thesis Development in Legal Argument

Structure of Legal Argument

The general guidelines for writing and using Paragraphs in the development of an idea apply as well when you write in a legal context. In persuasive writing, the paradigm for arguing a legal point follows a conventional structure:

Development of Each Point

With the exception of the Conclusions at the beginning and end of the point, which may only require one or two sentences, an advocate develops the other parts of the paradigm by means of one or (usually) more than one paragraph for each part. What is key is that each paragraph should develop a single concept (thesis); successive paragraphs should have a demonstrable relationship to that concept-providing an additional illustration of it, extending it, contrasting it, or moving to a related but different category of idea.

Rule Synthesis in Legal Argument

In this paradigm of legal argument, the Rule Synthesis pulls together common threads of ideas from multiple cases. A Rule Synthesis usually draws several idea threads from case law; a complete articulation of the Rule includes all of these threads; here, the ideas comprising the Rule should be stated in general terms, without delving into the details of the cases.

Role of Rule Proof

The Rule Proof illustrates and explains the ideas that the Rule Synthesis states more generally by addressing the facts, holding, and reasoning of the cases cited in the Rule Synthesis. A thesis sentence at the beginning of a paragraph should carry forward into the Rule Proof each of the ideas or theses covered in the Rule Synthesis. The thesis sentence is the link between Rule Synthesis and Proof.

Checklist for Drafting a Trial Brief

Modeled after a brief writing checklist prepared by Professor Janet Calvo, CUNY School of Law

I. Introduction (or Preliminary Statement)

II. Statement of Facts

III. Question Presented (or, alternatively, Summary of Argument)

IV. Point Headings