One way to start discussing the novel is by examining readers' reactions to Jake and whether they perceive him as a "good" lawyer, however they define "good." Jake is not a perfect hero. He is complex and flawed: he can be honorable, challenges the rules, shows fierce dedication to his cause, and hesitates in the face of temptations like alcohol and Ellen. He won't resort to any means to win, as evidenced by his refusal to let Lucien bribe a juror. Jake is determined to succeed using his own strategies, and this self-reliance might be his most prominent trait.

Numerous supporting characters also deserve attention, as Grisham provides them with rich descriptions, backstories, and substantial scenes. Characters like Ellen, Harry Rex, Norman Reinfeld, and Lester demonstrate Grisham's skill in creating vivid personalities. His attention to the thoughts and histories of secondary characters is reminiscent of the narrative style used by fellow Mississippian William Faulkner. For both authors, detailed character portrayals enhance the realistic setting, connect the past to the present, and explore thematic concerns. Grisham creatively subverts stereotypes with two particular characters to craft distinct individuals. Ozzie Walls initially seems to fit the mold of the typical tough Southern sheriff. He uses force to deal with criminals, coerces confessions by explaining the fate of rapists in prison, beats a bomber outside Jake's house, and uses the term "niggers" when speaking to whites. However, the fact that Ozzie, who embodies these stereotypical traits, is black, challenges expectations. (A notable contrast to Ozzie is the black police chief Tucker Watts in Stuart Woods' Chiefs [1981]. In the early 1960s, Tucker Watts faces significant opposition when he becomes the police chief in a predominantly white Georgia town.) As a member of Clanton's leading family, one might expect Lucien to either align with business interests or be a wholesome liberal, like Faulkner's benevolent lawyer Gavin Stevens. Yet, Lucien distances himself from his past, becoming a radical who champions every unpopular cause and takes pride in being an outcast. He shares a story about trying to board a segregated school bus with his black friends as a child, unaware that they couldn't attend school together. This tale highlights the Southern norm that while playmates could be black, schoolmates had to be white. It also echoes and reverses the famous scene in Faulkner's Absalom, Absalom! (1936), where the young, poor white Thomas Sutpen is rejected at the front door of a plantation house. Both Sutpen and Lucien learn about their differences and the societal roles assigned to them, prompting them to redefine themselves and create spaces where such humiliations won't happen again.