Let's Twist Again by Hank Phillippi Ryan

Award-winning investigative reporter Hank Phillippi Ryan is currently on the air at Boston's NBC affiliate, where she's broken big stories for the past 22 years. Her stories have resulted in new laws, people sent to prison, homes removed from foreclosure, and millions of dollars in refunds and restitution for consumers.

Along with her 26 EMMYs, Hank’s won also won dozens of other journalism honors. She's been a legislative aide in the United States Senate (working on the Freedom of Information Act) and at Rolling Stone Magazine (working with Hunter S. Thompson).

Her first mysteries, Prime Time (which won the Agatha Award for Best First Novel, was a double RITA nominee for Best First Book and Best Romantic Suspense Novel, a DAPHNE finalist and a Reviewers' Choice Award Winner) and Face Time (Book Sense Notable Book), were best sellers. They were re-issued this June and July from MIRA Books. The next in the series are Air Time (MIRA/August 25, 2009) (Sue Grafton says: "Sassy, fast-paced and appealing. This is first-class entertainment.") and Drive Time (MIRA February 2010.)

Her website is http://www.hankphillippiryan.com












Let’s Twist Again
by Hank Phillippi Ryan

Here’s the scene you’ve got to imagine. Me, and my dear husband, side by side on the couch. (He looks a bit like Donald Sutherland, if that helps. Not scary-spooky Donald Sutherland, but nice Donald.) We have wine. Some little snacks. And a movie.

Jonathan clicks the remote to ‘play’. The mystery thriller—you pick the movie--whirrs into life. Opening credits, big opening scene, setting the stage and introducing the characters. About five minutes in, a woman enters the plot.

“Dead,” I say.

Jonathan pushes pause. “What?”

“Nothing, nothing,” I say, taking the remote and pushing play. “I’m just saying, she’s toast.”

Four minutes later: KABLAM. Jonathan takes a sip of wine. “Anyone could have predicted that,” he says. “Plus, you guessed.”

I shrug.

Soon after, someone who is someone’s friend/lover/teacher/husband/neighborhood cop arrives into our plot. “I like him for it,” I say. “Guilty Guilty Guilty.”

Jonathan, who I might add is a criminal defense attorney and more used to real-life murder than any of us, is not happy. Pauses the video again. “Can’t you just watch the movie? Can’t you just wait and see what happens?”

I push play. Of course, the answer is no. For the rest of the movie, I—mostly—keep my suspicions and guessing to myself. Unless I just can’t stand it.

“I’m…,” the almost-heroine says.

“Pregnant!” I yell.

“Pregnant,” she says.

“Ha!” I say, raising a victory fist. “The twist.”

Jonathan’s face is some combination of annoyed, impressed and affectionate. He’s married an investigative reporter turned mystery writer, and we can’t stand not to predict what’s going to happen. Or think of a way that it could happen better. Or happen more interestingly.

It may have started with Perry Mason. When I was a little girl, with a lawyer for a step-father, when Perry was on, there were rules. Like: total and absolute silence. My little sister and I were not allowed to ask things like—who’s that guy? What’s embezzlement? Why is she crying? If we wanted to watch Perry on our 17th inch Philco (or whatever it was) we had to be very, very quiet.

Even my dad was quiet. But my 12-year-old brain began to figure things out. Like—the pattern. Of course, you had a head start with Perry. His client, except for that one famous time (what was the name of the case he lost? Anyone?) was not guilty. And the most obvious second choice didn’t do it either. The twist was--it was always the third person, kind of the guy who was not in the forefront until abut two-thirds of the way in. And soon, I could always guess. And I was always right. Of course, I was never allowed to say it out loud.

((“Foreshadowing!” I say, all grown up now and on my own couch. “See the river in the background? Someone’s going to drown.”))

Figuring out Nancy Drew was a snap, even though I loved her. Sherlock Holmes? Yeah, even Arthur Conan Doyle had a pattern. I realized that after devouring every Holmes story I could find. It was kind of—a rhythm you could tap in to and figure out the end. Like Law and Order, right? They’re fun to watch. But get the rhythm, and you get the bad guy. (Tum TUM)

And when I read now, I still can’t just let go and let the author take me away. I do try. Try not to think ahead, nail the foreshadowing, find the clues, figure out whodunit before the author tells me. I always, always fail. (But that’s also why I don’t read mysteries while I’m writing. I can’t. I only want my story in my head. I don’t want to be trying to solve someone else’s puzzle.)

Of course, I don’t always guess the bad guy. And it doesn’t really matter. If I do, that’s okay. If the author has written a careful, fair and clever book, I give them props for that.

When I don’t, though, that’s just great. I go back through; looking for the clues I missed, seeing if it was fair. And when it is, when I’m fooled and deceived and misled, that’s the best.

Presumed Innocent, of course. And Roger Ackroyd. And movies the Sixth Sense and The Usual Suspects.

But know what I’m wondering now? Is it fair to promise a “twist ending”? If I’m told there’s going to be a twist, I read the whole book differently. Looking for the twist. Which is somewhat distracting. Isn’t it twistier not to say so? All my promo material for Prime Time promises a twist ending. Which it does have. And people say they never guessed it. But I wonder—should I have left it a surprise? Or does promising a twist make it more of a challenge?

What do you think? Do you try to solve the puzzle as you read or watch? Or can you just—relax and get carried away? And if there’s a twist, do you want to know?

http://www.HankPhillippiRyan.com