Showing posts with label dolls. Show all posts
Showing posts with label dolls. Show all posts

Thursday, July 16, 2020

The Special House

HANK PHILLIPPI RYAN:  Did you have a doll house? (Ah, I have to say I never quite understood dolls, but not the point, and for another day.) But you know? We have been here at Jungle Red for ten years, right? Or more? 

And this is the sweetest blog ever.

Our dear FOTR, Triss Stein, is a wonderfully talented and gifted author and an all around fabulous person--and whoa, you all. This is the best story yet.


What I Did in the Pandemic
   by Triss Stein

It lives on the third floor of my house, in what is now our guest room. The glue that held it together is dried out, one of the wheels on the platform is long gone, and we are afraid moving it will be a disaster. It is big and narrow, 3 ½ ft.long x 15 “ wide and almost 3’ tall. More than four decades ago, my father built it for my young daughters.  

It is a doll house, a copy of our own Brooklyn rowhouse. It came with real leftover linoleum on the bathroom floors and real carpet remnants in some bedrooms.    



Typical of my dad, who loved to build things but could be a little careless on the details, it is gray where our “brownstone” house is actually cream colored. It has an elegant 3-sided bay window, where ours has only two sides. He left out the deck in the back and the elegant stone staircase to the raised front door.

We loved it then; we love it now.  When it came, we papered and carpeted and furnished the rooms. Our older daughter, who liked crafts, hand-made some accessories, including a crayoned computer, complete with drives and cables, that is still in the dollhouse office. Our younger daughter, later, created a busy family life for the resident dolls and put street numbers on the front door and a lock on the back. 



Time passed.  They outgrew it. I didn’t. I added holiday decorations, skis and scuba gear, a stand mixer in the kitchen. 

After old friends visited with two tween-age boys I found a house of horrors: a beheaded doll at the bottom of the staircase and another in the living room, stabbed with the tiny fireplace poker. It was hilarious and no, the boys did not grow up to be psychopaths.

Time passed. Dust accumulated and many objects were broken or disappeared.



Then new tenants moved into our real garden floor apartment; our daughter, her husband and daughters returned to the old neighborhood. The little girls call “Hello?” from the inside stairs and trot up to wheedle pretzels, use our computers and play with the dollhouse.

By February, 2020, Grandma -that would me - saw it was time for her once-a-decade renovation. That’s how it became one of the few coronavirus projects I actually carried out. I wiped down floors and walls. Fixed what could be fixed and discarded what couldn’t. Washed the textiles, discarded some and ironed others, and ordered new curtain rods, a proper desk chair, and miniscule toothbrushes.

My grandgirls, 6 1/2 and 4, now play incomprehensible games that result in furniture piled on top of the flat roof, or scattered “outside” on the supporting platform. I do know the ironing board became a slide.  The little one explained it all to me.     




These days, the dollhouse is no longer adorable and precisely perfect, as it was when I was in charge. It is loved, just as it is supposed to be. Working on it in a confusing and surreal time, I accomplished something tangible and used my hands to make something better. I made a bond with the next generation but also reached back to the last one. My father did not live to see these girls but his spirit is right there when they play with what he made. He is still creating joy and fun. He always did.



What project gave you joy in the last months?

HANK PHILLIPPI RYAN: That is adorably touchingly wonderful. Oh, my gosh. Thank you, dear Triss. (And they probably have no idea what an ironing board even is? Maybe?) But we have a tiny tiny garden. With tomatoes. We have a true, honest,  big  growing cucumber! I am enchanted. I love our little garden. It's the first thing we look at every day. How about you, Reds and readers? Yes, what project? And did you have a dollhouse?


Triss Stein is a small–town girl from New York farm country who has spent most of her adult life in Brooklyn. She writes mysteries about different Brooklyn neighborhoods, their unique histories, and unique modern issues, in her ever-fascinating, ever-changing, ever-challenging adopted home.



In her new  book, Brooklyn Legacies, murder gets in the way of historian heroine Erica Donato’s efforts to understand historic Brooklyn Heights’ clashing cultures and seismic current changes. How do historical preservationists, large real estate developers, a powerful religious organization, old Brooklyn society and aging hippies , live side by side? The answer is, with great difficulty.  And It all begins with a classic McGuffin, a lost portrait of Brooklyn’s own genius, Walt Whitman.




Tuesday, June 6, 2017

Hallie Ephron's YOU'LL NEVER KNOW, DEAR launches today!

JENNN MCKINLAY: Hallie, I loved You'll Never Know, Dear!!! The suspense was top-notch, an absolute page turner, but what resonated with me beyond the excellent edge of the seat must know what happens next writing was the complexity of the mother-daughter relationships you drew so well throughout the book.

How did your own life influence the creation of these characters and their relationships?


HALLIE EPHRON: My mother was a complete enigma to me. I hope to my daughters I'm an open book. And yet... I wanted to explore how family "history" often papers over secrets, and kinship is earned, not inherited.

HANK PHILLIPPI RYAN:  I second the triple exclamation marks!  Readers can tell a Hallie book instantly--they're suspenseful, textured, and a little bit (or more) creepy--in the sense of "what's really going on here?" And we can't wait to find out. Still, this book is somewhat of a departure for you. New suspense territory. Do you feel that way?  If so, why'd you tackle it?

HALLIE: I suppose it IS new in a lot of ways. Setting it in the South felt like stepping off a cliff, but my doll makers who sit out on their porch and sip sweet tea belonged in the South. Library Journal's review called it "A satisfyingly creepy read for fans of Southern Gothic fiction."  Yay!

Another leap: it's about dolls. Learning about dolls and doll making was a fun challenge. And then of course, making it pay off in the plot.


INGRID THOFT: Hallie, this book was so creepy and atmospheric and had such a strong sense of place.  It left me wondering, how did you choose the setting? 

Did you discover the setting first, and then put the story there or was it the other way around?  Did you go to South Carolina to do research?  The dialogue also captured the place with turns of phrase and a cadence that was perfect.  How did you pull that off, being a Bostonian of many years?


HALLIE: Oh, Ingrid! Thank you so much. I really worked at that. Once I realized the story belonged in the South, I picked Beaufort (BUE-fert), South Carolina. I’d been there twice. I wrote half the book, coasting on memory. Then I booked a plane ticket and a room for four nights at an inn (pictured) in the center of the historic district where I imagined my characters lived. I used that house as the neighbor's house in the book.

Beaufort was just as gorgeous as I remembered. Live oaks dripping with Spanish moss line the main streets. It has a spectacular
river-front park and esplanade. Shrimping boats like the one Officer Dan jumped off in Forrest Gump (filmed in Beaufort) chug up and down the river. (That picture is me and shrimper Steve Kerchner, practically a relative.) Anyone walking in the marsh’s thick gooey mud risks having their boots sucked right off their feet. The tide rises and falls 9 feet, so if you get stuck in that mud, you're a goner.

It's the perfect setting for a suspense novel--just the right balance of unique local color and menace.

On the dialogue, I confess I found a series of YouTube videos: Sh%t Southern Women Say. Four Southern babes and they're completely divine. Over the top. I took notes and dialed it back. Thank you, Ladies! I'm a FAN!



DEBORAH CROMBIE: Hallie, I loved this book. I think it's your best yet, and that's saying a lot! So, tell us about the dolls. I don't even like dolls and I was fascinated. I had no idea doll collecting was such a big and complicated thing. And the portrait dolls! Is there really such a thing? How interesting and slightly creepy. Was it the dolls that gave you the idea for the plot, or did mother-daughter-missing sister idea come first? Either way, it's a brilliant combination.

HALLIE: The story was inspired by a chance conversation with an old friend, Mary Alice Gallagher. She told me about having just returned from helping her elderly mother downsize and move out of their family’s North Carolina home. Her mother was a doll maker, and the house had been full of dolls and molds and glazes and paints for making porcelain portrait dolls (there really is such a thing).

Under every bed, Mary Alice found boxes and boxes of doll parts. Legs. Arms. Torsos. Wigs. Eyeballs. And eyeball-less heads.

When I got home, I couldn’t shake that image. From the start, I knew that the story would be about a little girl who disappeared with a unique porcelain portrait doll made for her by her mother. I knew the book would open forty years later when the doll comes back.

It took me a long time to figure out what happened to the little girl, but from day-one I knew that doll parts would provide the key to unlocking the mystery.

LUCY BURDETTE: I've said this before and I'll say it again--one of your very best, Hallie! You've already had lots of great questions asked about this book, so I'm wondering...how do you move from these characters and this complete story to a new book?

It's not like a series, where the writer can say, oh yes, here's where I'm headed next time: This character can become embroiled in an investigation for this reason, and in Hayley's life, this will be going on... How do you make the shift to an entirely new book?? Do you feel finished with these people by the time the plot is wrapped up?

HALLIE: I hate starting over because it's so much easier for me to edit than to write first draft. But i don't feel remotely tempted to pick up my characters where I left off. I'm finished with Lis and Vanessa and Miss Sorrel and they're finished with me.

RHYS BOWEN: Hallie did you grow up loving this edge-of-seat suspense? Which writers influenced you?

HALLIE: I did love Alfred Hitchcock movies. He had a talent for imbuing the everyday with menace. He didn't have dolls in his movies, but here's an odd fact: He gave his star from The Birds Tippi Hedren's 6-year-old daughter (actress Melanie Griffith) the gift of a painfully accurate wax doll figure of her mother in a miniature coffin. That's beyond creepy.

Not nearly as creepy: here's a doll my friend Mary Alice Gallagher's mother made for Mary Alice's daughter, Cate. It's going on book tour with me! So please, come to one of my events and I'll take a picture of us three and post it on Facebook. My events.


Thursday, April 20, 2017

Why dolls creep us out & You'll Never Know, Dear

HALLIE EPHRON: Many people take one look at the cover of my forthcoming novel, You’ll Never Know, Dear, and say, “That is so creepy!” My very own daughter posted the cover with this advice to her Facebook friends: “Avoid nightmares by keeping its cover side down.”

I adore the cover. I call it arresting. I love those electric green eyes. I’m looking for someone who can turn the doll’s face into an animated gif that blinks (and clicks as it does so). That would be creepy. That would be great!

The book is about a doll—a porcelain portrait doll--and a little girl who disappeared with it. Forty years later, the doll comes back.

The main character is that little girl’s older sister, now in her forties, who still feels responsible (she was supposed to be watching her sister.) At long last she has a chance to find out what happened. Maybe even find her lost sister.

Maybe.

I promise you, the dolls in this book are not creepy. Well, maybe a little. And, okay, I admit, the doll parts are—legs, heads, eyeballs. A little.

Why do we find dolls so creepy? And why is it, the more realistic the doll, the creepier it is? I suppose it’s of a piece with masks and clowns and mannequins. Human but not. But why don’t robots engender the same response?

The official pub date for the book is June 6, 2017. These weeks in the run-up to that date are fraught. It’s excruciating… waiting for the first readers to weigh in, for the early reviews. Believe me when I say every insecurity an author has balloons.

Which reminds me: those Macy’s Thanksgiving Day blimps are also terrifying.

Giveaways and down-pricing
The good news is that my publisher is pulling out all the stops, down-pricing my earlier books and giving away advance reads copies of the new one.

YOU’LL NEVER KNOW, DEAR Win one of 10 advance copies
Deadline: May 5 12 PM EST! Enter for a chance to win!

NEVER TELL A LIE
Goodreads giveaway
My first standalone suspense. A young couple are about to have their first child. A woman from their past shows up at their yard sale, goes inside the house, and never comes out. A starred review in Publisher's Weekly called it a "deliciously creepy tale of obsession."
Enter by 4/27!
We’re giving away 25 print copies!

Bargain priced! NEVER TELL A LIE e-book
Until April 24. Bargain priced ($1.99) and comes with a preview of You’ll Never Know, Dear
CLICK HERE, then pick the retailer of your choice.


Today's question: What were you afraid of? Dolls? Clowns? Mannequins? Or did your fears run more to amphibious creatures and bugs?

And one more giveaway! An advance readers copy of You'll Never Know Dear to one lucky commenter today!