A few things I spotted:

There were repetitions of the words "looked" and "said." I can suggest replacing at least some of them with synonyms to strengthen the word choice.

Good descriptions, although I feel like literary devices could be used a bit more to enhance it. But if it's intentional, then it's fine.

I agree about the dialogue. There were a few conversations, especially the one between Martha and Corbett in chapter five, that don't need a tag after each dialogue line (just tag the first two lines and the rest without them.)

Correction:

Chapter 3:

Martha looked up at met Corbett’s eyes in the rear view mirror." I think at met should be and met. I can also suggest rewording (omit looked up or at met.)

--*--

But this is good so far. Not that great as there were a few things. I don't read a lot from the mystery genre, but to me this story is interesting. I like Corbett's body language (him pulling his hair) - it shows that he's the nervous type (correct me if I'm wrong.)

[adjudicated] *seeks dictionary*

[My wife worked in a place like this? Corbett couldn’t even imagine her tolerating this atmosphere for more than a week, at most. When he had asked her how her first day was, she had said it was interesting, and that she thought she might like it. He caught a glimpse of a few impressionist paintings mounted on the walls, and it assuaged his doubts. Maria loved impressionist paintings.] I enjoy how you give us snippets about Maria here and there, working them in perfectly so that they fit the flow of the story. It's like she's slowly being unveiled to us.

Okay, the dialogue exchange between Lauren and Mr. Avery contains way too many dialogue tags. Most of the time we know who's speaking without you telling us. The constant "Lauren said," "Mr. Avery said," "Laured asked," etc., really disrupts the rhythm.

[“Yes, of a hit and run accident—do you speculate that there was foul play? I thought you weren’t here to indict me,” Mr. Avery said, standing from his desk. “I want my attorney.”] This feels flat. Liven it up.

It's passages like the one where Lauren looks out the window, sees the soccer mom and the kids, and then muses about her own mother, where this story is really shining.

The exchange between Lauren and Corbett in the car, though brief, was probably the first time either character has even hinted that he/she has a personality.

[“Those bastards don’t wanna talk, well I’ll make them talk.”] Wow. Can we get any more cliché?

You're overdoing it with the dialogue tags. I mean, in this brief exchange between Swanson and Lauren, they're the only two in the scene at the moment, so we know who's talking each time. Yet you put a "he said" or "she said" after every line.

[He waved absently and continued on jotting notes.] "On" isn't necessary. "Omit Needless Words," as E.B. White puts it.

[Corbett washed his hand over his whole head again] Everytime he does this, I wonder, what the hell does Corbett look like? Have you given much description yet? I can't recall a single physical detail about the guy. Is he bald? Balding? Short brown hair? Black hair? Is he being played by Fabio?

[She felt almost like she was touching his skin through his shirt. “Relax. You’re doing fine,” she said.] Again, another needless dialogue tag.

[They’re in for a world of hurt] Eveything that's been coming out of Swanson's mouth has been a cliché.

[“Hello, Mrs. Swanson,” he said too cordially.

“Is Matt there?” she asked.

“If he didn’t make it home, it must mean he’s still talking with D.A. Johnson,” Corbett said.

“I see. And how are you?” she asked.

“I’m fine,” Corbett said.

“You’re always the last one there, aren’t you?” she asked.

“Not always,” Corbett said. “I’ll let Swanson know you called,” he said.

Silence. “If you ever need anyone to talk to, let me know, Leon,” she said.] Okay, by posting this entire exchange, you should see what I'm talking about. Every damn line has a dialogue tag. One line even has TWO. That's totally unnecessary. We know who's speaking every time. There's only two people in the conversation!

Eh, decent chapter. At least you're starting to flesh out the characters a little more. They didn't seem quite as cardboard as in the first chapter. The relationship between Corbett and Lauren is showing promise. Their interactions felt, for the most part, genuine, certainly more than before. Corbett seems like a different dude from Chapter 1. I'm glad to see he has a pulse.

Looking back on it, I think there should be more attention to Corbett's thoughts after he saw the maid in Chapter 1. I know he was drunk, but that's the event that kicks this story off, yet it comes and goes relatively quietly. It seems like Corbett would express a little more emotion about the idea of his wife still being alive. Even though he's investigating it, so far he seems to be shrugging off. Delve into his pysche.

Sorry if I've been a little harsh with this story so far, but I know how you like it rough.

I just happened to randomly log on Fictionpress the other day, and, after viewing my stats, I clicked on your account. Much to my delight/surprise, I found a brand new story! Even though I never finished reviewing "Windless," and considering I've never even read a single chapter of "House Full of Strangers" or "World Chicken," I thought I'd make up for my lack of helpfulness these last two/three years by reviewing this here story, since it's the one you're craving feedback for at the moment.

I admit that the summary for this story doesn't interest me in the slightest. I've never been a fan of romances or detective novels. However, this is a major departure from your usual work (meaning, what you wrote 4-5 years ago), so I'm interested to see how you pull it off (since I know you will).

Shall we get this baby started?

[could not recapture Leon Corbett’s myriads of thoughts]-- Your sentence might be correct, but "myriads" sounds awkward since even the singular "myriad" implies multiple.

[The earth was dark red and black, as if the explosion had bruised its crust] Nice description. The real explosion together with the metaphorical bruise works perfectly. It also helps to add an immediate sense of danger and violence to the story.

[She could have been in the millions of flakes that rained down.] Wow. What a beautiful way to word something so gruesome.

Okay, I'm reviewing as I'm reading, and the opening paragraph confuses me. The way the opening sentence is worded, it sounds like Corbett is actually AT Lebaron's Fireworks, although the "super gloss photos," and "myriad(s) of thoughts," hint at your true intention. I think it's because of "paled in comparison to what he SAW at Lebaron’s" that gives me the image of Corbin standing in front of the destruction, while looking at photos of the same damn thing. Perhaps "paled in comparison to what he HAD SEEN at Lebaron's . . ." would work much better, maybe even tack on at the end of the sentence "x-amount of years ago." That way we know it's a flashback. Fo' sho.

[His mood swings were a storm front that Swanson learned to forecast and evade] The jury's out on whether or not I like this analogy. Do you?

[“He just looks like a killer,” Swanson narrowed his eyes and sipped more coffee.] You've always done this. Unless Swanson's pupils can speak, this isn't a proper dialogue tag. There should be a period after "killer." If not, it should be: "'He just looks like a killer,'" said Swanson, narrowing his eyes and sipping more coffee."

[Lauren held him out a cup.] "Him" isn't necessary.

[He gathered all his files, raked the photos into a folder, and hefted his briefcase out the door] "Hefted" is too strong a word choice. I picture Corbett grunting as he tugs on the briefcase, which is dragging on the floor it's so heavy. Unless the briefcase contains an anvil, I think that's a bit of an exaggeration.

Okay, the intro feels useless by itself. Why can't it just be the beginning of Chapter 1? The first paragraph worked well as an opener, but the rest is just a cliched detective scene. Also, I feel like Swanson smothers our introduction to Corbett. If Swanson is the MC, that's okay, I guess. But I think this is Corbett's story.

[“Have a seat,” Jim said. Corbett didn’t even know why people said those things, when there were two seats and both had agreed to come for dinner.] LOL. Good point.

[“Working hard?” he asked. “Any leads?” he asked.] Cut the second "he asked."

[you’ll never know what type of trouble you could run into.—you look tired."] Get rid of the hyphen and capitalize "you." Or turn the hyphen into elipses. Whichever.

Hm, I like the descriptive parts of Corbett and Jim's dinner/one-sided interaction. However, the dialogue is incredibly stiff and lifeless. It was in the intro, too. Usually you're awesome at dialogue, but here I get the sense that you were uncomfortable with these characters. They're what you THINK detectives are, instead of real people. Their body language and dialogue is from the movies and novels you've read. Let them breathe. Give them life. Don't settle for caricatures.

[She opened her mouth, and the elevator dinged.] I like this better as two sentences, without the "and."

The paragraph where Corbett looks at the picture of Maria and muses about their visit to the Grand Canyon is the best paragraph so far.

[it had been nearly a year since she had broken up with Salvadore] LOL. Salvadore!

[Corbett simply nodded. “It’ll be my first time visiting her workplace.” They dropped by Corbett’s house.] I think the transition from the office to Corbett's house is too quick. Oh, wait . . . I guess this little section STARTED in the car. You need to clarify that better. Corbett simply "rolling down windows" isn't enough.

The part where Lauren goes from being fascinated and subconciously in love with Corbett, to suddenly disliking him just because of his house, feels forced. Would she really have such a strong reaction, even if it's only a passing feeling, over something so benign?

[He didn’t want anything but his thoughts and the wind whistling outside his window, which was, in his opinion, the truest sound of movement.] Nice closing sentence.

I really like the name "Leon Corbett." That SOUNDS like a detective name. "Kat Lauren" is pretty good, too. "Matt Swanson," however, sounds like someone who'd make luggage.

I didn't much care for this first chapter. If it was posted anonymously, I'd have no idea it was you. The writing lacks your usual essence. The whole thing feels uncomfortable, tight, stuffy. Probably as the story progress, though, you'll become more comfortable with these characters, and they'll start to act and talk like real people. The story needs more personality. I want to get the sense that you had fun writing this. Right now it feels too laborious.

I know Corbett is in mourning. He lost his wife, so he's withdrawn from the world and the people in it. But I think you tried too hard to convey that- not with your actual words, but with your approach. Corbett's the main character, yet he leaves this chapter feeling the least important. Swanson, Lauren, and Jim Stevens all made a more lasting impression on me. I know it's a delicate situation. Corbett is a living ghost at this moment in the story, but you've gotta convey that without making him seem so . . . nonexistant, for lack of a better word.

This story's dying for some humor, too. I know it's serious and all, but still. It needs it. Just add a subtle sense of it here and there. The characters can remain all stoned-faced, and the tone can still be grim, but we readers need to feel a heartbeat, even if it's barely palpable.

Write on?

So far this is pretty good. I like the characterization and plot. Great imagery during the first paragraph of the introduction and execution of suspense as well.