Alafair Burke is an Edgar Award-nominated crime novelist. She is the author of the Ellie Hatcher series, featuring a New York City homicide detective, and the Samantha Kincaid series, which features a Deputy District Attorney. She also co-authored the Under Suspicion series with Mary Higgins Clark. Her standalone novels include Long Gone, If You Were Here, and The Note. Burke is the daughter of the acclaimed mystery and detective fiction author James Lee Burke. She is the first woman of color to be elected as the President of Mystery Writers of America.

While The Better Sister is a standalone thriller, the novel is thematically connected to Burke’s earlier novels, The Ex (2016) and The Wife (2018). Burke describes this trilogy as exploring “the complexity of female relationships and the diverse roles that women play in contemporary society” (313). All three books are narrated primarily by a strong yet flawed female protagonist and depict legal conflict within the context of intimate domestic relationships (marriages or families). Olivia Randall, a supporting character in The Better Sister, is the protagonist of The Ex, defending her former fiancé when he is accused of murder.

Burke draws on her professional experience to craft thrillers that involve legal complexity and courtroom drama. As a former deputy district attorney, she prosecuted serious crimes and is now a professor of criminal law and procedure. The author’s insider grasp of criminal law shapes the narrative structure of The Better Sister, as the plot follows the arc of a real-life criminal case, from the discovery of a murder to the investigation and the courtroom showdown.

Burke’s background also lends authentic texture to her novels, demonstrating specialist knowledge without overwhelming the narrative with legal jargon. Her depiction of Detectives Guidry and Bowen captures the procedures of police investigation, while Olivia Randall’s character illustrates the role of lawyers in the justice system. The novel’s descriptions of courtroom proceedings provide an accurate picture of trial tactics. For example, Chloe’s account of Olivia making “repeated objections—hearsay, relevance, vagueness, speculation—until Nunzio finally accused her of trying to break up any rhythm he had for the cross-examination” (242) conveys the legal phraseology that makes up a vital part of the battle between prosecution and defense. Burke also highlights the vagaries of the legal system when Chloe is only granted the visiting rights of an aunt, despite raising Ethan as a son.

Burke’s professional experience also allows her to explore the morally ambiguous aspects of the criminal justice system. From the beginning of Ethan’s trial, the novel emphasizes the performative role of lawyers, witnesses, and defendants in the courtroom. Olivia coaches Ethan, Chloe, and Nicky not only on what to say when they testify but also on their facial expressions. For example, she instructs Chloe and Nicky to glare at Jake Summer to convince the jury of his guilt, despite their knowledge that he is innocent. Observing Olivia’s unperturbed expression as the trial increasingly goes against Ethan, Chloe observes that the attorney deserves “an Academy Award for acting” (244).

Burke’s depiction of courtroom showmanship also underlines how prosecution and defense lawyers build their cases by presenting opposing stereotypes. While Mike Nunzio portrays Ethan as “a pampered, entitled brat” who ruthlessly killed his father, Olivia depicts him “as a naïve, traumatized kid” who was victimized by the police (190). Like the labels of “good” and “bad” sister attached to Chloe and Nicky, Olivia and Nunzio’s portrayals do not acknowledge the gray areas where the truth inevitably lies.