In the 1950s and 1960s, the concept of the nuclear family was a personification of the American dream, the illusion of the perfect life, the perfect wife and children perfect, everyone lives in a model community. With four staccato rifle shots, Truman Capote's In Cold Blood almost irreversibly breaks that quintessential familiar mold, sending him on a journey of disorientation, sympathy and greed that Dick and Perry were responsible for. For many, however, their thoughts about the “perfect score” and the resulting manhunt and trial have been adulterated by the dirty hands of the puppeteer and the personal prejudices of the author. Every action in the story was manipulated for its true ending, to create an enticing atmosphere from a macabre act. For all his realistic recreation of dialogue and alternating arcs to slowly weave the two plots together, Capote ultimately falters in creating the fictionalized and realistic atmosphere of the book, the consequence of his inability to separate the intimate aspects of his writing . from the concrete facts of the events that occurred. Say no to plagiarism. Get a tailor-made essay on "Why Violent Video Games Shouldn't Be Banned"? Get an Original Essay The “nonfiction novel” that Capote introduces into the literary canon successfully creates a layered plot that effectively both evokes conflicting feelings for the antagonists and creates a realistic atmosphere that mirrors the actual events of the murder while subtly adding sufficient elements to include an imaginary aspect. The book itself is divided into 5 different sections, each another part of the two divergent narrative threads that contribute to the mythos of the story through the sequel of Dick and Perry and law enforcement in Garden City, developing two distinct levels of what eventually it will become a single plot. As a result, Capote is able to treat each plot as a self-contained, multifaceted entity before they merge, and by keeping them separate, he enriches each character's development, effortlessly combining real-life and fictional elements. they truly portray the person he wants them to be, not who they were. Impressed by many, including the New York Times, "[Capote] demonstrated that reality, if listened to with patience, could orchestrate its own full range" (Knickerbocker 4). This “full range” is exemplified in the conflicting emotions that Dick and Perry recall, sometimes compassion, sometimes anger, all feelings that distort the book's perception of them and offer different perspectives on how they might be interpreted long after their execution. In doing so, Capote emphasizes that, although his characters are partly his creation, they are nevertheless essentially a product of their actions set in reality. Unfortunately, Capote's often fabricated dialogue, designed to speed up the pace of the story, ultimately hurts. becoming a difficult aspect to overcome in terms of relevance to the book's descriptive diction and the absurdity of the author's alleged memorization of every word. Being a “343-page true crime chronicle” (Kauffmann 1) Capote pushed for the story to be as realistic as possible, a decision that was as misguided as it was poorly executed. Because the story is consistently rooted in the interactions between its characters, dialogue is used heavily to fill in necessary plot gaps that the author's descriptions couldn't fill on their own. Although Capote wanted to add a certain degree of authenticity to the novel, the words of each character only break up the fast style of his writing when every stoic sentence is accompanied by hasty lines. The struggle of the book.