Showing posts with label Hank Phillippi Ryan. Show all posts
Showing posts with label Hank Phillippi Ryan. Show all posts

Friday, May 6, 2011

It Ain't Me, Babe

by guest blogger Julia Williams, bookseller extraordinaire and offspring of Sheila Connolly, for reasons which will shortly become clear.

Hello, internet world! I’m guesting today for my mother, Sheila Connolly, as a broken ankle and general post-conference brain-friedness prevent her from coherent typing. The doctors told her to stay away from keyboards for at least a week, but you know how she is. She continues to claw at the laptop as I write this, attempting to wrest back her sacred blogging duty, but I’ll have none of it. I think she’ll pull through. In the meantime, you’ve got me. You can call me Julie.

In case you hadn’t heard, though I’m guessing you had, this past week saw mystery writers and readers and lovers of all stripes convene for Malice Domestic 23 in sunny Bethesda, Maryland. Actually, I’ve just asked my mother if it was in fact sunny there, and she reports that she didn’t see any windows, just the inside of the conference hotel. So it might have been sunny. I’ll speak with the fact-checking department and get back to you. With the grownups gone off to points south, it was my job to hold down the fort here in Massachusetts, and while I am generally a nervous person where creaky Victorian houses are concerned, I hardly found time to be frightened, between working sixty hours a week and my very important commitments to Monday night pub trivia and constant attention to Bravo reality programming. Besides, any time I wondered what the folks might be up to, I had only to log onto Facebook, where Malice photos soon began popping up in my feed like crocuses on the neighbors’ lawns. There was my mother, chatting variously with Liz Zelvin and Krista Davis (both of whom I had the pleasure of meeting last year at the Virginia Festival of the book — small world!), and snaps here and there of another Facebook friend, the talented and eternally chic Hank Phillippi Ryan. It looks like everyone had a good time! There is something marvelous about writers’ conferences, isn’t there? You never can tell what’s going to happen.

This puts me in mind of the first conference I can recall attending. It wasn’t strictly a conference for writers, but it was an academic event at which thinkers presented their work and looked to foster dialogue within their field of study. I was in my first year of college, and drove down from school with a few other students to meet up with a professor whose history class we were all taking at the time. One morning, our group arrived late from the local bed and breakfast and sat in the back of a large conference room for the first talk of the day. After a long presentation on atrocities in Europe during the past century, we all slumped in our chairs and looked at our shoes as the audience began to file out. A tiny woman in her eighties shuffled up the aisle toward the exit, but stopped when she saw us. She patted my friend on the shoulder, said “Cheer up, dear,” and walked on. We all chuckled, felt the mood lighten a bit, and left for a late breakfast. We only discovered the next day, at the conference’s keynote reading, that the woman had been the great writer and poet Grace Paley.

Which describes perfectly what I love about conferences. You may hardly know what’s happening outside the hotel walls, but the excitement of the conversations and connections going on inside make you forget to care. Be it in Atlanta or Austin or Boston or Bruges, the simple aggregation of creative types in one place with one focus makes for an interesting time. Did you ever put some beetles in a jar when you were a kid, and then shake up the jar to make them fight? No, I didn’t either. That would be cruel. Don’t do that. But you get my point. Conferences are a great time once a year (or twice, or many times, depending on how you feel about travel) to recharge your creative batteries, to get excited about your craft, and, heck why not, schmooze with the writing community over tiny quiches and wine. What did you all get up to at Malice this year, if you went? Do tell.

Thanks for reading, cats and kittens. You’ll get Sheila back next week, I promise. Over and out!

Thursday, April 1, 2010

The Agatha Nominees: Best Short Stories of 2009

Elizabeth Zelvin

The short story is a form of mystery fiction that is often overlooked or underrated. For the writer, they can be both challenging and satisfying: a chance to explore new voices, settings, and subgenres; a discipline involving tight plotting, freshness and originality, a limited word count, and a twist at the end; an opportunity to heave a sigh of relief and write "The End" after a week or two rather than a year or two. For the reader, they're a chance to read new authors before investing in a book and a reading experience that even if it delays your turning out your light at night, won't keep you up all night turning pages.

This year's Agatha nominees for Best Short Story are a group I'm proud to be part of. Rather than tell you about Dana Cameron, Hank Phillippi Ryan, Barb Goffman, Kaye George, and me, let's let their stories speak for themselves. Through the magic of the web, you can click on the links and read all five of them well before it's time to vote for your favorite at Malice Domestic at the end of April.

Elizabeth Zelvin, “Death Will Trim Your Tree” in THE GIFT OF MURDER, (Wolfmont Press, a holiday crime anthology to benefit Toys for Tots)
http://www.elizabethzelvin.com/PDF/Zelvin, Death Will Trim Your Tree PDF.pdf

Barbara makes latkes and Jimmy supervises while Bruce wrestles with those pesky strings of lights. When a trip to the hardware store leads to murder, the crucial clue is something only a recovering alcoholic could know.

Barb Goffman, “The Worst Noel” in THE GIFT OF MURDER (Wolfmont Press, a holiday crime anthology to benefit Toys for Tots)
http://www.barbgoffman.com/The_Worst_Noel.php

Mom loves Becca best. Gwen's always known that, and she's put up with it - until this holiday season. A little too much family togetherness, coupled with some professional humiliation caused by Mom, pushes Gwen over the edge. So she plans a Christmas Eve dinner that no one will ever forget.

Dana Cameron, “Femme Sole” in BOSTON NOIR (ed. Dennis Lehane, Akashic Books)
http://www.danacameron.com/2010/02/femme-sole-for-your-agatha.html

In 1740s Boston, Anna Hoyt owns a North-End tavern and all the local
thugs—including her husband—want a piece of it. What's a lone woman to
do when waterfront rats threaten her livelihood?

Hank Phillippi Ryan, “On the House” in QUARRY (Level Best Books)
http://hankphillippiryan.com/short-on-the-house.php

A twisty tale of broken promises, broken hearts and intricately-planned revenge proves when true love goes wrong, a woman's best friend may be her dog. Or--not.

Kaye George, “Handbaskets, Drawers and A Killer Cold” in CROOKED (a crime fiction e-zine)
http://www.geoffeighinger.com/Crooked1.pdf

When Chicago cop Cal Arnold stops at the drugstore for cough syrup to tame his raging cold, he ends up taking in a hold-up artist instead. On his next attempt, same drugstore, another robbery is in progress. This time the felon is Nate, the wayward brother of Cal's wife and the guy who was the subject of their latest heated argument. The sixteen-year-old has a wild streak as wide as Lake Michigan, a chip on his shoulder the size of the Sears Tower, and has recently been kicked out of Cal's house. Nate speeds away from the drugstore while Cal is paralyzed by a coughing fit, but Cal is positive he has recognized the vehicle. Go after his brother-in-law? Write up his report and leave out the vehicle? Cal has to decide whose wrath he fears more, his wife's or his captain's.

Tuesday, May 6, 2008

I Got By With A Little Help From My Friends

by Darlene Ryan

* Sharon Wildwind will be back next Tuesday.

Most of you probably don’t know that I've spent the last three months in a cast after having surgery on my right foot and leg at the beginning of February. Well, three casts if you want to get technical; one made of gauze and plaster, which weighed a ton, one made of gauze and fiberglass--red fiberglass which is what happens when you have a ten year-old with you--and one that was rigid plastic with more straps than a medieval chastity belt.

I learned a lot of things while I was cast-bound. For instance, a man will never miss an opportunity to cop a feel while holding a woman upright in the shower even though he has been married to her forever, and her leg is wrapped from toes to hip in black garbage bags and she hasn’t shaved her armpits in six weeks. It’s way more fun to watch Jesse come back from the dead on All My Children than it is to take a tour of the inside of Dr. Oz’s digestive tract on Oprah. (BTW, Darnell Williams who plays Jesse? Yummy with a spoon.)

After the surgery I was sick. I don’t mean kind-of-queasy-feel-sort-of-crappy sick. I mean SICK. Wretchedly, dry heaving sick. Had to be held upright by nurses sick. Flashed a room full of strangers sick. Yes, that is the third time I’ve flashed people in a hospital. No, I swear I don’t have a secret desire to be a stripper. Later, when I'd been shot full of some anti-nausea wonder drug it occurred to me that being a writer is kind of like wearing a mental hospital gown all the time. You have to be willing to expose yourself—your inner self, not your dimpled backside—when you write. You have to be willing to share some of what moves you, what terrifies you, what motivates you, with your characters and with your readers.

Once I was home, what little mobility I had came with the assistance of crutches. Crutches aren’t easy to use. They take time and practice to master, especially when you tend to be klutzy. Using crutches involves technique. And you can’t learn it from the Bruce Willis thriller Striking Distance. (Try using crutches the way Willis does in a courtroom scene early in the movie and you’ll end up in traction.)

Writing requires technique as well; where to put the commas, how to develop characters, when to end a chapter, how to write a synopsis. It takes time and practice to write well. And it helps to learn the techniques from people who know what they’re doing. In other words probably not from Bruce Willis movies or your mother, unless you happen to be, say, Jesse Kellerman which would make best-selling author Faye Kellerman your mom.

Maybe the most important lesson I learned was that while writing may be a solitary profession, being a writer doesn’t mean you have to be a solitary person. It was my writing friends that kept me from going totally bonkers. My blog sisters kept me up to date on everything happening in the writing world. Fellow Guppy, Janet, made me laugh with her emails. Susan sent me sugar-free chocolate which tasted like the real stuff. Sharon Wildwind helped me deal with peeling toes.

Hank Ryan’s Face Time landed in my mailbox in the middle of a snow storm when I had RUN OUT OF THINGS TO READ and the library was closed. HelenKay Dimon’s Right Here, Right Now got me through a two hour wait at the fracture clinic, and made the orthopedic technician blush. And Lynn Viehl’s advance copy of Twilight Fall kept me company when I got ordered back to bed. Thanks guys!

One Last thing:

Brenda Novak's 2008 On-line Auction to Benefit Diabetes Research is now underway and will continue all month. www.brendanovak.com There are hundreds of items to bid on, including books and gift baskets from well-known authors. For writers there are reads and critiques offered by some of the best agents and editors in publishing. Poe's Deadly Daughters has a Mystery Lover's tote bag in the gift basket section, Item # 1011096. Along with our books there are other treats including a Metropolis tee shirt and a Poe action figure. And of course, lots of chocolate! All the money raised goes to research to find better treatments and eventually a cure for diabetes. As someone who will benefit from that, a big thanks in advance for your bid.

Wednesday, April 30, 2008

Solitary writers? I don't know any

Sandra Parshall

Mystery writers, as much as any other authors, like to play up the image of the solitary wordsmith pecking away (preferably in an unheated attic), writing about imaginary people but shunning contact with the real kind.

Attend a mystery conference and you’ll see how absurd that notion is. Mystery writers are the friendliest people I’ve ever met, and many are likely to give you a big hug even if your previous acquaintance has been limited to online exchanges. (I’ve gotten used to people I’ve never met throwing their arms around me, but I'll admit it was startling at first.) In between conferences, those online chats keep everybody in touch, but there’s nothing like a mystery con to make a writer feel like part of a huge community of authors.

I’m only going to two conferences this year, and the first, Malice Domestic, is now past, leaving behind a lingering nostalgia for the energy and enthusiasm of a big crowd of writers and fans. Okay, I’ll admit Malice Domestic was more exciting last year, when I was an Agatha nominee (and winner). But this year was great in its own way because four friends from the Guppies Chapter of Sisters in Crime were nominated.

Liz Zelvin, my blog sister, was nominated for Best Short Story, as was Nan Higginson. Beth Groundwater was nominated for Best First Novel for A Real Basket Case. Hank Phillippi Ryan won the prize for her first novel, Prime Time. Here they are: Liz, Beth, Hank, and Nan.


They’re all terrific writers, and you’ll be hearing a lot more from and about them in the future.

The personal highlight of Malice this year came when a woman in the audience at my panel (“After the Agatha: You’ve won! What’s next?”) revealed that she is one of Poisoned Pen Press’s manuscript screeners and was delighted to have played a part in getting my first book, The Heat of the Moon, published. I wanted to find her and thank her afterward, but she had vanished. I hope she knows her words gave me a warm glow that's going to last a while.

So far everything I’ve done at Malice has been tied to The Heat of the Moon. In 2006, the book had just been published and my only goal was to make people aware of it. In 2007, I was on the Best First Novel nominees panel and feeling a little anxious that THOTM would overshadow the newly-released Disturbing the Dead. This year, I was on a panel of past Agatha winners, having fun but regretting that I didn't have another brand-new book in hand to talk about.

What’s in store for me next spring? Even I’m not sure yet. But I know I’ll be at Malice, getting and giving hugs, exhausting my cheek muscles with nonstop smiling, and enjoying the great company.

More of my Malice Domestic photos are posted at: www.flickr.com/photos/guppies/


Saturday, June 30, 2007

A Time to Kill?

Hank Phillippi Ryan (Guest Blogger)



It was The Clue in the Old Clock that did it. I read that first Nancy Drew when I was–maybe ten or eleven years old? And I knew I wanted to be–not Nancy herself, (although that would have been cool: roadster, good hair, boyfriend, none of which I had at the time) but a mystery writer. I barreled through The Clue in the Diary (which I thought was Clue in the Dairy, and read the whole thing baffled about when the cows were going to show up), then went on to devour every Sherlock Holmes story, and I mean every one, and then Agatha Christie. And the rest is...well, then my career took a turn. Thirty years ago, I got my first job as a TV reporter. And I’m still on the on the air.

But as my very first mystery novel, Prime Time, is now on bookstore shelves, I keep realizing how being an investigative reporter is a lot like being a mystery writer. You’re looking for clues, tracking down evidence, putting the puzzle pieces together, searching for the bad guys, and trying to find justice in the end.

But two elements are different. Big things.
One, as a TV reporter you can’t make anything up. Fiction by a reporter—is bad news.
Two, as a TV reporter you don’t have to kill anyone. Murder by a reporter—is also bad news.

Writing murder mysteries as I do now? You’ve gotta make it all up. And you’ve got to kill someone. Or several someones. In every book.
Making it up? No problem for me. I see almost a movie unreeling in my brain. Sometimes it feels as if I’m just transcribing what I see and hear.
Killing someone? You know, it’s a problem, I must admit to you. Strangely, I’m finding that difficult to do.

Okay, they’re fictional people. No one really gets hurt, there are no actual grieving families, no real blood or secret graves or bedrooms spattered with red or disgusting maggot-filled corpses or hacked-off body parts in hidden surprising places.

And I really don’t mind reading about murders. From the grisliest serial killings to the most lady-like poisonings. All good. Hannibal Lecter? Wish I had thought of him. That guy who put the moth in victims’ mouths? Cool idea. The Orient Express? The Speckled Band? Genius.

But for me. Actually plotting to murder someone--even though it’s just via Microsoft Word—has developed into an interestingly self-analytical exercise. It gives me—pause. Am I—a wimp?

I think—I’ll only kill people who are really bad. Hmmm. Not so interesting. Or people who absolutely no one will miss. Boring. Who are sick already? Nope. Who no one will care about? Then why read the book? So I kill off someone who is critical, and who people care about, and who is important to the plot. They’re just paper people. But I still feel kind of—sorry for them.

A pal of mine—whose thriller I’m sure will someday be on all of our nightstands—let me read an early draft. In the opening scene, 700 people get blown up by terrorists in an office building. Then the main character—who had narrowly escaped--went home and had a glass of wine and made dinner. I said—you know, you’ve described an unforgettable and terrifying occurrence, one that would be devastating to all involved and the ramifications would be endless. Are you sure you need to kill off 700 people? And wouldn’t the main character be, um, a lot more upset?

And the writer said: yeah, Hank, but they’re all fictional people. And the main character didn’t die.

I said: why not have them all almost die? The bomb almost goes off, and they all escape. That’s just as scary, even scarier, right?

The writer was perplexed. But for me, as you can tell, I still can’t get those 700 fictional dead people out of my head.

In writing Prime Time, I had to face committing murder. When veteran TV reporter Charlie McNally discovers that some of that annoying SPAM clogging her computer is more than just cyber junk mail—but I’d better just let you read it for yourself. And see who I got up the gumption to kill off.

Did you see the very thought-provoking movie Stranger Than Fiction? In it, a writer discovered that what came out of her typewriter really happened. The main character heard—and experienced—everything she was creating. Finally, he appeared at her door to beg her to stop writing about his death. And she was haunted with wondering—what if the other characters she killed had been real?

Sometimes it almost does feel a bit like that. Haunting. Do you worry about the dead guys? Could you kill someone—in a book, I mean? Am I—a wimp? Does murder get any easier? Even on the page?

You know, I don’t think so. But I’m going to keep at it. Because for a mystery writer, just like a reporter, it’s so satisfying to be able to tell a good story.

Investigative reporter Hank Phillippi Ryan’s dozens of awards include 24 Emmys. She is currently is on the air at Boston's NBC affiliate. PRIME TIME, her first mystery features investigative reporter Charlie McNally. The second in the series, FACE TIME, will appear in October 2007.