Hy Conrad has forged an extraordinary journey within the realm of crime fiction, honing his craft and mastering the art of creating enthralling murder mysteries. His remarkable talent has garnered him esteemed recognition and accolades, notably including the prestigious Scribe Award, which he received in recognition of his exceptional novel. Furthermore, his exceptional storytelling skills have earned him the distinction of being nominated three times for the renowned Edgar Awards by the esteemed Mystery Writers of America.
Within the realm of television, Hy Conrad has gained widespread recognition and acclaim for his significant contributions as both a writer and co-executive producer on the groundbreaking series Monk, which captivated audiences for an impressive span of eight seasons. His influential role in shaping the show’s narrative and creative direction has solidified his reputation as a respected and influential figure in the television industry.
Hy calls Vermont and Key West home, which he shares with his husband, Jeff Johnson, and their pair of mini-schnauzers, Nelson and Stella.
Do you have a favorite mystery novel or author that has influenced your own writing style?
Style is a delicate thing and I’m still learning. Just last week, I was reading a passable but not great suspense novel and noticed a trick of style that the author used to amp up the suspense. I’d never thought of this before, but it’s something that would work in many forms, and I definitely plan to use it in my next book. So, everything influences a writer, even the not-so-great stuff.
The author who got me excited about the whole mystery field was Agatha Christie. “The Murder of Roger Ackroyd” was a master class in misdirection. She was perhaps the greatest crafter of mystery plots. Ever. Her characters were not fully fleshed out, yes. But that gave the stories a kind of lightness, a bit of humor that the use of more realistic, fully realized characters might have ruined.
What challenges do you face when transitioning a TV series like “Monk” into a novel series and how do you approach maintaining the essence of the characters and the show’s unique tone?
I wrote the last four Monk novels, taking over from Lee Goldberg, who has gone on to bigger and better things. He created the template for the books, establishing them from Natalie’s point of view. It was a formula that worked beautifully. You could see everything from her loving attitude toward Adrian, but still feel her frustration when he gets obsessed with something trivial.
In any procedural TV show, there are always scripts that get rejected and never make it to the screen. There are often dozens of these rejections per show. With Monk, there was only one. We had written a script taking place on a cruise ship. We wanted it to look realistic, but we couldn’t find a cruise line that would let us borrow a ship. Apparently, murder is not a selling point for any of them. So, I took this rejected idea and made it into a novel, “Mr. Monk Gets On Board.” The literal transfer from script to book was quite difficult. Certain things are understood visually and can deflate when you try to describe them. And a book needs much more connective tissue to bind the characters and the story together.
As for style, over the years, I became quite accustomed to Monk’s quirks and speech pattern. Writing the books was just a continuation of that.
How do you develop intricate puzzles and clues for your mysteries? Do you have a specific process or inspiration that you follow?
I always start with a compelling set-up and a good twist at the end. The rest falls into place after I start writing. This necessitates going back and rewriting, over and over again, re-jiggering bits of plot and character to fit the new direction. It’s quite labor intensive.
A few years ago, I read an article about a man who sits on a park bench every day and has conversations with people who stop by, listening to them talk about their lives and problems. My immediate thought was, “What if this guy gets murdered? Would that be an interesting premise? Did he happen to overhear something he shouldn’t have?” That’s the basis of my current project, “The Man on The Bench”, the third book in my Callie McFee mystery series.
How do you balance the elements of suspense and humor in your writing, and do you find one more challenging to execute than the other?
I have always seen the connection between humor and mystery. For me, it comes naturally. Now, in my more mature years, I do try to give the stories the seriousness they need. After all, someone is dead and that should be treated with respect. It’s not just a game. But I always think with humor. The characters in my mind just say inappropriate things or come up with weird ways of solving the crime. I will never be part of the trend toward intense, James Patterson-type novels. It’s just not in me.
Can you tell us about any upcoming projects or books that you are currently working on?
The writers’ strike has thrown a monkey wrench into my TV projects, so I don’t want to mention them right now. I thoroughly support the strike. Young writers especially need to get these benefits for the future. But there is no communication with any of the studios or producers, and I have no idea if my current projects will survive this interruption.
I am working on a new novel, “The Man on the Bench”, which is a lot of fun. And I’m allowed to work as a consultant on a few foreign TV projects. They are doing TV versions of “Monk” in India and Italy, and I’ve been asked to work on them and make sure that they remain Monk-ish enough. I’m so looking forward to traveling to Mumbai.
