Hey writers! Sarina here!

I have never been quiet about how much I enjoy Karin Slaughter’s work. So when the opportunity arose for me to read her brand new book, We Are All Guilty Here, and then interview her about it, I raised my hand faster than an extra in a deodorant ad.

The new book is a series starter with a kickass female heroine, and I could not have loved it more!

Join as as I quiz Karin on:

* How to write a sweeping series starter

* Small towns as a setting. How small is too small?

* The difference between a procedural and psychological suspense

* Character development and much more!

Karin is incredibly smart and such an important voice in suspense. You won’t want to miss this one!

Other favorite’s of Karin’s that we discussed include:

Pieces of Her

The Grant County series

Hey, Jess here to talk to you about a series I have created just for supporters of the #AmWriting Podcast.

I met an aspiring author and speaker who has an idea for a book that just knocked me over. I said, please, please write that book. This is someone who had an idea that has a place in the market. It's timely. She's the perfect person to write it, and I asked her, I begged her, if I could please mentor her through this process publicly on the podcast.

So while we're not giving her full name and we're not giving the actual title of the book, because we don't want to hand those things away, I am coaching her through the entire process, from preparing her book proposal to querying an agent. I'm going through the whole thing with her. She knows nothing about the publishing industry, she knows very little about how one goes about writing a book—so essentially, this is as I mentioned before, from soup to nuts, From Authority to Author, and hopefully we'll get her there.

But really, whether or not this book ends up selling, whether after this book she ends up having a speaking career, this is about the process of preparing to do that. I hope you’ll join us.

This series is for supporters only, so if you are a free subscriber right now, consider upgrading. Remember, if you upgrade, you'll also get the ability to submit for our First Pages Booklab, and lots of other fun stuff that we put out just for supporters—So come join us. It's a lot of fun.

Transcript below!

EPISODE 461 - TRANSCRIPT

Jess Lahey

Hey, Jess here to talk to you about a new series I have created just for supporters of the Hashtag AmWriting Podcast. I met an aspiring author and speaker who has an idea for a book that just knocked me over. I said, please, please write that book. This is someone who had an idea that—it has a place in the market, it's timely, she's the perfect person to write it—and I asked her, I begged her, if I could please mentor her through this process publicly on the podcast. So while we're not giving her full name and we're not giving the actual title of the book, because we don't want to hand those things away, I am coaching her through the entire process, from preparing her book proposal to querying an agent. I'm going through the whole thing with her. She knows nothing about the publishing industry. She knows very little about how, you know, one goes about writing a book. And so she—essentially, this is, as I mentioned before, From Soup to Nuts, From Authority to Author, and hopefully we'll get her there. But really, whether or not this book ends up selling, whether this book—she ends up having a speaking career—this is about the process of preparing to do that. How do you write a book? How do you prepare to become a speaker on the back of that book? So I hope you join us. This is a series for supporters only, so if you are a free supporter—or if you're a free subscriber right now—consider upgrading. Remember, if you upgrade, you'll also get access to the ability to submit for our First Pages Booklab and lots of other fun stuff that we put out just for supporters. So come join us. It's a lot of fun.

Multiple Speakers

Is it recording? Now it's recording, yay. Go ahead. This is the part where I stare blankly at the microphone. I don't remember what I'm supposed to be doing. All right, let's start over. Awkward pause. I'm going to rustle some papers. Okay, now one, two, three.

Sarina Bowen

Hello, my name is Sarina Bowen, and you're listening to the AmWriting Podcast. This is the podcast about writing all the things—short things, long things, fictional things, non-fictional things, pitches and proposals—in short, this is the podcast about sitting down and getting the work done. I am alone today with an interview that I could not be more excited about. I don't know how I drew the long straw here, but today I have the pleasure of interviewing Karin Slaughter. She is the author of more than 20 instant New York Times best-selling novels, including the Edgar-nominated Cop Town and standalone novels The Good Daughter, Pretty Girls, and Girl Forgotten. That's actually an amazing one, by the way—go read it. She's published in 120 countries, with more than 40 million copies sold across the globe. She also has a number one Netflix series and another long-running series. She has hit all the bells and checked all the boxes in thriller land, and she is also just one of my favorite writers. So happy to be here. Welcome, Karin Slaughter.

Karin Slaughter

It's my pleasure. Thank you.

Sarina Bowen

We're here to talk about your August release, which is called We Are All Guilty Here. I received this ARC a few months ago—actually read it immediately—because I love your suspense, and I also was really excited to see that it was clear as day on the release. So you owe me now that it's a series starter.

Karin Slaughter

It is, yeah. It was a lot of fun planning it out.

Sarina Bowen

Oh, good, yeah. And I want to hear a little bit about that, but I'm just going to read the very short flap copy for We Are All Guilty Here so we all know what we're talking about.

[Reads flap copy]The first thrilling mystery in the new North Falls series from Karin Slaughter. Welcome to North Falls—a small town where everyone knows everyone. Or so they think. Until the night of the fireworks, when two teenage girls vanish and the town ignites. For Officer Emmy Clifton, it’s personal. She turned away when her best friend's daughter needed help—and now she must bring her home. But as Emmy combs through the puzzle the girls left behind, she realizes she never really knew them. Nobody did. Every teenage girl has secrets. But who would kill for them? And what else is the town hiding?

So, flap copy very much pitched as a thriller. Here is the problem here—you know, we're wanting the solution, but I would argue that your novels are always, always about bigger than the problem and its solution. So how did you conceive of this town, and what does North Falls mean to you as you were getting into it?

Karin Slaughter

Well, I mean, North Falls is a very small town inside of a larger county. So it's rural, but it's not tiny like my Grant County Series. And I think that I learned some lessons in Grant County—mainly, make it a larger town so there's more people you can kill, because at a certain point, why would anyone live in this tiny town? But also, I knew going into it that it was going to be a series. And so, you know, unlike Grant County and Will Trent—which I was hoping would be series, but I wasn’t sure, and I was at a different point in my writing life—you know, I'm pretty sure, 25 books in, that they're going to publish at least two or three more of my books. So I thought, let me set this up as a series, and let me do this world building that can carry on into several books, and let's make this town. You know, North Falls is the seat of the county, but it's also in a county called Clifton County. And the main narrator you meet is called Emmy Clifton, and she's a sheriff's deputy. Her father, Gerald Clifton, is the sheriff of this county. There are Cliftons everywhere—there are rich Cliftons and poor Cliftons—and so you have this family saga potential. But also, it gave me the opportunity to plant a lot of different seeds that will later grow into novels. So I was really happy about that, but I definitely structured the county in a way where there's plenty of space to tell stories.

Sarina Bowen

Right. So I noticed, and when I read a book like this, I am reading it as a reader, but also as a writer.

Karin Slaughter

Yes.

Sarina Bowen

And so I really noticed how long the character count in this book is—by which I mean how many characters there really are, how many named characters. There's so many of them, and that felt really fearless to me, you know, like you weren't sitting there at your keyboard wondering if you were going to ask your reader to remember this other family member, but you just went for it. And is that something that you ever try to balance? Like, you're not taking it easy on us here, and ultimately, I loved every word of it. But do you ever worry about that? Like, do you let that voice from other books past into your brain to say, like, well, that one time…

Karin Slaughter

Not really. You know, I think a writer's job is to trust the reader, and it's certainly my job to tell a story that is gripping and that makes sense and that pulls them into the world. And so what I was thinking about as I was writing this was, I need to write these characters in such a way that you care about them; otherwise, you won't care what happens. And, you know, Emmy is in a pretty universal position for a lot of millennial women. She's in a marriage that's not a great marriage. She's trying to raise her son. Her parents are starting to get older—you know, they're failing a little bit—so she's noticing that. And in the middle of this, she has this horrific crime happen where these two girls are abducted. And because they are in this small town, she knows one of these girls, who's actually a stepdaughter of her best friend—her best friend since kindergarten—and so just that one thing happening blows her world apart. To me, that's what the hook is. You know, there's this greater mystery of what happened to these girls, what's going to happen, who took them—all those things—but there's also something that I rely on a lot in my books, which is the mystery of character, and people wanting to know more about how does Emmy navigate this. What happens to her brother and her sister-in-law, and this handsome guy who is the school resource officer? You know, how does this all play out? And that, to me, is the job of the writer—to make these characters interesting and make the plot and the balance of the character stories fit together in a way that, you know, when there's not a car chase or a gunfight or whatever, you still want to keep reading because you're involved in the mystery of the character.

Sarina Bowen

Yeah, and we sure are. And Emmy is just the beating heart of this book, but she is not your only point of view character. And how—is that something you really have to fiddle with as you go, like, do you try on other point of view characters and then pick the winners as you go?

Karin Slaughter

Yeah... I never have, you know, I think that I'm a very opinionated writer. I have a very firm sense of point of view. And so I knew that Emmy was going to get the bulk of the first part of the story. And then I knew that Jude was going to come in when she came in, and that I would have to build out, like, just drop the reader in this unfamiliar, new world, right in San Francisco, with like, a completely different character, and you don't know what's going on, and you make assumptions about her based on what she does for a living and all this other stuff. And you know, I knew that was coming all along and that the book would be told from these two women's points of view. I never felt—other than the early part with Madison, one of the girls who is abducted—I never really felt like anyone else could tell these stories.

Sarina Bowen

Okay! And you mentioned that you learned some things from writing your Grant County Series that informed your choice of the size and milieu of what you chose for North Falls and for Clifton County. What do you think? How did it feel to start a series in 2025 versus starting one, you know, a decade ago? Like, is there anything about the world that made your choices different, or is it all, um, you know, coming from what you've learned as an author?

Karin Slaughter

Yeah, I think it's cumulative. I mean, the point of being an author with a 25-year career is to learn from each book, and I never want to feel like when I finish a book, oh, that's perfect. I can't do better than that. I always, you know, want to learn something, and then the next book I want to try something new. I mean, I could have just kept writing Will Trent novels and occasionally standalones for the rest of my life. I mean, and I am going to write more Will Trent novels interspersed with North Falls. It's really important to me to—I love that character, I love Sara Linton, and I want to keep telling those stories. And I actually have another idea for a standalone I want to do. But, you know, the point of being a writer is to get better at it. I think anybody who loves writing and the challenge of writing, and feels a calling, wants to be better with each story—to hone certain skills, to do novel things (to use a pun there) in their writing that challenge them and make the work more interesting—and that's what I try to do with every book. So starting North Falls this far into my career was a leap, but I think, hopefully, it's one that has paid off for me as a writer, just to have the ability to tell new stories and kind of prove that I've got more stories in me.

Sarina Bowen

Yeah, I confess that I regularly have moments where I stop myself and ask, have I said this before this way? Have I done this little thing before? And what would you tell me about that—like, to just, like, get over myself? Or, you know, what happens when you come to a moment like that in your own story craft?

Karin Slaughter

Well, I mean, in polite terms, you could think of it as an homage to yourself. I mean, honestly, I'm writing about murder. I'm writing about violence against women. I mean, I do write about men dying, but no one seems to care—so sorry, guys. You know, I had one book where I killed, like, six men, and then the next one I killed one woman, and they were like, wow, this return to violence. I'm like, come on, guys. But yeah, you know? So I think how you do it is you have to think of it through the lens of the character, and that's a choice I made in Grant County and Will Trent—was that they were going to be affected by what happened in the previous book, right? So, you know, you don't have a situation—you know, I love series novels, but there are some where… and Jack Reacher is an exception because I love Jack Reacher, and every Reacher book is: he gets to a new town, people are doing bad s**t, and he shoots a lot of people, and he makes it right, you know. And I love Jack Reacher. But, you know, some writers do write the same thing over and over again—they have the same concept or the same gimmick—and that's never been a career that I'm interested in. For me, I want to tell new stories and do new things. And, you know, after a while you run out of crimes that are new crimes. You know, I've written about abduction before, I've written about abuse before, but it's the character—the way the character sees a story, and the connection, the emotional connection the character has—that makes a difference. And, you know, in many ways, it's harder to write a novel in North Falls, where Emmy has a personal connection to the crimes that are occurring, as opposed to writing a Will Trent novel set in Atlanta, where, you know, it's a stranger to them. And so I have to...

Sarina Bowen

If Will Trent knew—yeah, if Will Trent knew every dead person, that would just seem weird.

Karin Slaughter

Yeah, exactly, yeah. And so I have to find a way into the story, and with Will and Sara, for instance, it's a little more difficult than something where, okay, there's this immediate emotional connection, because I'm writing in North Falls more psychological thrillers, as opposed to Will Trent, which is more procedural.

Sarina Bowen

Okay, can I poke you about that a little bit? Because, um, these words are used a lot. Procedural, to me, I've always understood to be a professional character. So Emmy Clifton is a law enforcement officer—she's a pro—so in strictly, strict definition, this is a procedural novel. But how do you feel the difference between psychological versus procedural functions in those two series?

Karin Slaughter

Well, you know, I think absolutely, if you want to be strictly by definition, it would be procedural. But, you know, the thing about thrillers is they're all things now, right? I mean, you could call it domestic—a domestic thriller, or domestic mystery, or whatever—you could call it, you know, a family story. And I think of it more as a saga, because it is about a family spanning generations, and this town spanning generations. But, you know, yeah, there's a procedural element. There's also—like, it's very emotionally tied into the character. There's a darkness to it, so it's psychologically, you know, you're very close to the bone on it. And I think that's why I would call it more of a psychological thriller, as opposed to Will Trent where, you know, it's very led by the investigatory steps, right? Like, you know, if Will Trent is going to be there, they're going to talk to witnesses, they're going to talk to suspects, they're going to, you know, have to fill in with their boss. There are just different parts of that that, in one way, the structure makes it easier to write than something like We Are All Guilty Here. But, you know, with this in particular, where you have it talking about not just the crime, but how f*****g hard it is to grow yourself into a woman, as Emmy says, and friendships and relationships and family and dealing with aging parents and, you know, siblings and that sort of stuff—that, to me, is what makes it more in the realm of psychological.

Sarina Bowen

Okay. I've actually really admired the way that you sometimes walk the line on this. For example, I really enjoyed Girl Forgotten, which is the character that is first introduced in Pieces of Her, where she is not a professional. And then in Girl Forgotten, she has joined a law enforcement agency, but it's still her first day on the job—which is just such a wonderfully fun way to throw things at that character—because then it becomes both a procedural and not. Like, she is technically a professional, but she doesn't know what the heck she's doing, and not everybody there is willing to help her. So to me, that was a fantastically fun way of making both things true at once. And when I was reading that book, and of course then this one, I wonder—how you get the legal—the law enforcement stuff? So, like, how did…I know that by now, at this point in your career, you must have many people you can talk to about this, but how did you start that? Like, how did you inform yourself of what you didn't know so that you could fix it and not get those things wrong?

Karin Slaughter

Yeah, you know, when I wrote my second book, I had met a guy who's a doctor, and he is married to a pediatrician, and his brother works on a body farm in Texas. So this is, like, the perfect family for me for what I'm doing to make Sara the smartest doctor on the entire planet. Because, you know, it might take my friend David, who advises me, four days to come up with a solution, but Sara has to do it in half a paragraph. So she's definitely the doctor you want if anything very unusual happens. I mean, her career would be the subject of scholarly articles forever.

Sarina Bowen

Zebra is not horses for her.

Karin Slaughter

Exactly, yeah. And so I am…I have them—I have a lot of police officers I speak to, a lot of retired GBI officers. One of them was very helpful in this novel because, you know, the GBI—it escalates, you know, crimes in the state of Georgia escalate completely when there's a child involved, just because, you know, somebody who's in Fulton County can't jump to Acworth, for instance, as far as policing, but the GBI is in charge of the entire state—Georgia Bureau of Investigation—so they handle a lot of kidnappings and abductions. And most of the time, you know, it's statistically…there's a 1% chance it's going to be a stranger. Usually it's a parent or “Uncle Bob,” or, you know, the youth pastor, or someone like that who has access to a child. And so she hooked me into the Center for Missing and Exploited Children, which is a remarkable resource. And, I mean, I think they're just amazing in what they do. But, you know, the thing is, as much as I know about this stuff, I always check my work because I'm not a professional. And, you know, it's very rare these days, I think, for people to say, hey, I'm not an expert in this, let me talk to someone who is and has spent 20 years becoming an expert. But it's really important to me to get those details as correct as I can. Now, they're not always going to be 100% accurate because I'm telling a story, you know? If putting in a chest tube takes 20 different steps…Sara’s going to do it, you know, in like a sentence.

Sarina Bowen

Right.

Karin Slaughter

So I have to—but I feel like I need to know the rules and I need to know the facts before I fudge them so that I can still give them a sense of believability. I'm writing…not writing textbooks, I'm writing fiction, but I want to be as accurate as possible, and I think that's really important, you know? And I know that a lot of my readers are very immersed in true crime and podcasts and all these sorts of things. And sometimes you can get the accurate information from those. A lot of times you don't. And I want them to say, wait a minute, you know, on “Murder Death Podcast”, they said this would never happen, and if they look it up, or they talk to an expert, they'll be like, ha, “Murder Death Podcast” was wrong. You know, maybe I shouldn't trust this guy or gal who's doing a podcast out of the backseat of her car for my forensic knowledge. So that's my job as a writer—to get it as factually accurate as I can.

Sarina Bowen

Yeah, and there are areas, um, where readers care more. Like, when I ask readers, um, what do you—what drives you nuts in research? It's the nurses are really, like, um, triggered by bad medicine. But…

Karin Slaughter

Yeah.

Sarina Bowen

But there are some areas, you know, like technology, and there are some places where, you know, less accuracy—or more creative accuracy—is more excusable than if you do the nurse thing wrong, because they will come for you.

Karin Slaughter

Yeah, yeah, they will. Or guns…

Sarina Bowen

Right.

Karin Slaughter

You know? And it's really because the armorer for the GBI—I actually confirmed some details with him in a book—and, like, some guy in, I don't know, Idaho sent me this angry email saying I got it wrong. And I'm like, talk to the armorer, right? I mean, people…people just want to fight sometimes. But yeah, nurses can be brutal when they come for you. It's like, come on, man. It’s funny that you mentioned doctors, actually; doctors are like, you know, people get it wrong, but nurses are like, no, you got this wrong, you need to apologize.

Sarina Bowen

It's funny that you mentioned the guns, because I heard last year Gregg Hurwitz speak, and he said, “Don’t get the guns wrong. The gun people will come for you. And don't hurt the cat, because the cat people will come for you.”

Karin Slaughter

True. It's true. I would say the cat people are more brutal than the gun people.

Sarina Bowen

Yeah.

Karin Slaughter

As it should be. You should never hurt an animal in a book.

Sarina Bowen

Right. So back to the idea of a series again. I was so excited to see that this will be a series, and I—the expansiveness of the first book makes a lot of sense series-wise. What do you think is actually harder about writing a series versus a standalone, or the reverse?

Karin Slaughter

Well, you know, in a standalone, the stakes can be much higher because you're not going—you can damage these characters. I mean, you can kill the characters. You can kill them all by the end of the book, you know? So the sense of jeopardy is always heightened in a standalone, at least in my standalones, because I'm not precious with people, even if they're narrators. But, you know, I think it's really important to—no matter what you're writing—just keep in mind that there's someone out there who has experienced the crimes you're writing about. And, you know, a case of gender violence is happening right now, and right now, right now, and right now, right? So it's like every second of the day in the world, it’s happening somewhere. And I keep that in mind when I'm writing, and I want to make it matter. I don't want to use it for effect—it’s not titillating or sexualized, or any of those things. So, you know, when I'm writing—whether it's a standalone or a series—I want to set up that world where the lives of these people matter, and you understand that the loss of life is felt in the community, and by the family, and the characters, and the investigators, and everyone there. And so, you know, the challenge with the standalone is finding that world, building that world, and then leaving that world, right? It's a lot of work, as opposed to in a series where you know you're going to carry it on. So you have to be a little careful about how you structure things, and you don't want to leave your character in a place where the next book you don't know how they're going to go on, also. And so you have to have some sense of hope, or some sense of closing that one chapter and moving on to the other. I mean, I use a lot of humor in my books. I get a lot of questions about the violence, but I never get questions about the humor. I think it's really important to have that lightness among the darkness. I mean, my grandmother used to say, “You can't fall off the floor,” and I'm a big proponent of that. I think at some point, you know, you have to have some relief from it. And in a standalone, you know, you have a very short runway to do that, but in a series, you have a longer…you know, you can trust the reader, as they get to know these characters, that they have a little more empathy and sympathy with what they're going through.

Sarina Bowen

Yeah, so you mentioned darkness, and I've been thinking a lot about this. And your books have some very dark topics and themes, as they must, because you are carrying storylines that are, um, can be very dramatic and have very high stakes. One thing I've noticed about your books, and why I like them so much, is that even in the year of our Lord 2025, when I pick up a Karin Slaughter book, it could be dark as anything, but I know from at least chapter one and a half who I am rooting for and who I care about. So Emmy is a wonderful example of this. Ten minutes into my journey with her, I know that she's my girl. You know, I'm very invested in her, even though that does not mean she has to be perfect, that she isn't flawed, or that she even knows what's going on—but I know, because of the cues that you've given me, that I'm supposed to care about her, and I do instantly. So when I began reading lots and lots of suspense three or four years ago, as I was writing my own, I very quickly sorted all of the suspense in the world that's selling right now into two pots, without trying to—which is the books where I know who I'm supposed to root for immediately, and the books where you don't. And I noticed that that second category is awfully popular now, and maybe is sort of on an upswing, like where the mystery, the story, might be very beautifully rendered, but I don't necessarily care about any of the people, or I'm not sure who to pull for. And that’s not because these books aren't well written, but because that's a mood, and I wonder if you've noticed that, and, um, and how you feel about it, just from a writerly perspective. Like, what is going on there? Like, why is there so much darkness in the reader's perspective, and, you know, not just in the themes right now?

Karin Slaughter

Well, I mean, I think it's where we are, just in the world, right? You had a lot of that before 9/11, and then there was a need after—I mean that, and I speak to 9/11 because that's…my first book was published a few days after 9/11, so…

Sarina Bowen

Oh, wow.

Karin Slaughter

And there was this idea, like, you saw it in the TV show 24, where there's good and bad, and there's, you know, black and white. It's very—and then we've moved definitively toward grays. But, you know, I like books where you know where you stand. And I have written books with unreliable narrators at times, and, you know, Gillian Flynn did it best and kicked that off. But, you know the thing about an unreliable narrator or an antagonist being your narrator is, I prefer a Tom Ripley, right? I mean, Tom Ripley, Patricia Highsmith’s character, is decidedly a bad guy. He murders and steals and, you know, but you're rooting for him, even not to get caught, you know. And a lot of the tension comes from him making really stupid mistakes, and you're cringing as a reader and thinking, God, how's he going to get out of this? And I don't want him to get arrested, even though he's this bad guy. And I love books that play against that. I think sometimes we have books where people—I mean, what you're saying about not knowing who to root for—I mean, if they're a good antagonist or they're a good foil, like a Moriarty…I mean, a lot of times you're not rooting for Sherlock, you're rooting for Moriarty. It just depends on how it's drawn. But for me, I just felt like, you know, this is sort of a return to Grant County, which is…I started writing Grant County, and, you know, you believe that Jeffrey and Sara and Lena, for the most part, were always trying to do the right thing. And I think we've lost the benefit of the doubt for a lot of people—particularly police officers have lost the benefit of the doubt—which is very troubling, because they police with our consent. And we need to understand who we're giving consent to. And we need to understand—you know, “defund the police” has been, like, a buzz…buzzword, phrase, whatever, for a while now, but rural areas, particularly in smaller states, have been defunding the police for years. And it's not a movement or anything; it's just not paying people enough money to live off of, right? So we've got police officers who have two or three jobs, rather than professionals who have one job, and that pays their bills, and they can take care of their responsibilities with that. So we've been defunding them. We don't give them enough training, and we're just seeing an erosion of that. And so it's something that I'm going to talk about a little bit in this next novel—is that defunding of police and how it's been, like, a nationally…it’s been a real issue. We're seeing a deterioration in police forces because of it, and particularly in retention. And so that's definitely something I want to talk about, but I think you have to put it in context and take the politics out of it, because it's not politics. It's just people not having money to pay, or choosing not to pay for services that they really need.

Sarina Bowen

Right. Or it is politics. It's just not party politics. It's just…

Karin Slaughter

Exactly, yeah, yeah.

Sarina Bowen

It's just bad politics.

Karin Slaughter

Yeah, well, it's bad social engineering.

Sarina Bowen

Yes.

Karin Slaughter

Basically. So it's there…if you could look at it from a sociological standpoint, it's just a really bad idea. And, you know, you don't retain good officers. So what do you have when that's over? You know, and not to say, like, paint entire police forces as bad because they're just not making money—but, you know, it takes…all it takes is a few bad cops, and a police force is in jeopardy.

Sarina Bowen

Right, like, would you rather live in a state where the cops and the teachers were paid well, or a state where they weren't and…?

Karin Slaughter

Yeah, yeah.

Sarina Bowen

Well, I really appreciate you taking the time to talk with us today about all of these story craft problems that were mired in all week along. If listeners want to find you, where is the best place for them to look, besides the bookstore, where this this book is coming?

Karin Slaughter

Well, I I'm all over social media. All you have to do is search for me. You see a little black cat with gorgeous green eyes. That's my baby boy, Dexter. So that gives you an indication of it. You're in the right place, or Facebook, obviously, but yeah, I'm all over the place.

Sarina Bowen

Wonderful! Thank you so much for being with us today, and listeners, until next week—keep your butts in the chair and your heads in the game.

Jess Lahey

The Hashtag AmWriting Podcast is produced by Andrew Perilla. Our intro music, aptly titled Unemployed Monday, was written and played by Max Cohen. Andrew and Max were paid for their time and their creative output, because everyone deserves to be paid for their work.

This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit amwriting.substack.com/subscribe

Episode 282 - Ghost of Me with Kashena Sampson