‘Will Trent’ author takes charge with new book series and ‘Good Daughter’ TV adaptation

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In discussing her latest thriller series, “We Are All Guilty Here,” Karin Slaughter demonstrates a combination of wit, introspection, and eagerness to venture into uncharted territories.

Her achievements are truly impressive: She has authored 24 novels that have collectively sold over 40 million copies worldwide and been translated into a staggering 120 languages. Among these works, we find the Grant County series, which centers around Sara Linton, a small-town pediatrician and medical examiner, as well as another series focusing on Will Trent from the Georgia Bureau of Investigation. The latter has served as inspiration for the popular ABC TV show starring Ramón Rodriguez, which was recently renewed for its fourth season. Furthermore, she has also written several standalone novels, such as “Pieces of Her,” which was adapted into a Netflix series in 2022 featuring Toni Collette, and her upcoming work, “The Good Daughter,” is set to be adapted for Peacock. Given this impressive body of work, it’s not surprising that she has risen to the prominence she currently enjoys.

When chatting with Slaughter over Zoom from her home near Blue Ridge, GA, two aspects stand out: Firstly, unlike some writer’s offices I’ve seen, the towering deep-purple bookshelves that dominate her office wall, rather than boasting of her accomplishments, showcase works by Southern authors she admires and supports. (More on this later.) Secondly, she exudes a relaxed demeanor as she readies for the launch of her new book amidst a demanding schedule, aiming to adapt “The Good Daughter” into a limited series for television next year.

As a writer, I can’t help but remember my humbling debut – a book conference where I shared the spotlight with the legendary Mary Higgins Clark. While she sold an astounding 12,000 books, I could only manage three sales. Laughing at my own exaggeration, it was a moment of truth that left me slipping out the back door, tail between my legs. However, Mary’s kindness, buying one of my books herself, stayed with me forever.

Since then, I’ve endeavored to pay it forward, purchasing and advocating for lesser-known writers, both in the U.S. and the U.K. Yet, my deepest affection remains for Southern writers, whose work brings a sparkle to my eyes whenever I discuss them.

In my own words, I’d say: “My world transformed the moment I delved into Flannery O’Connor’s works. As a peculiar girl who never quite felt at home, I found an unexpected resonance in her raw and occasionally brutal narratives. My early tales were filled with the eerie narratives of my sisters meeting untimely fates – being kidnapped, disappearing, or worse. Yet, the climax was always a relief, as I became the sole storyteller!”

With a touch of humor, I’d continue: “People often told me I was peculiar, that my interests were unbecoming for a lady. But when a kind librarian placed a collection of Flannery O’Connor’s short stories in my hands, everything changed.

She exclaims, ‘Hold on a second!’ She describes O’Connor as odd, much like herself living in a quaint Southern town. O’Connor didn’t quite belong and yet she garnered renown for her captivating short stories, even establishing an entirely unique genre!

Subsequently, Alice Walker’s literature provided a more profound insight to young Slaughter about a world where slavery wasn’t as idyllic as she had been led to believe by “Gone With the Wind”. For her, Walker’s writings were particularly enlightening, revealing a side of reality that was previously unknown to her, a middle-class white child growing up in the South.

Television

Featuring Toni Collette and Bella Heathcote, this eight-part series may have some imperfections, yet the numerous plot twists and turns keep viewers so engrossed that minor flaws often go unnoticed.

In the late ’70s and early ’80s, the Atlanta child murders significantly influenced a budding author who devoured books of various genres. As she puts it, “These events opened my eyes to the prevalence of crime. It wasn’t just about the criminal acts themselves, but how they transform communities and individuals, even in seemingly perfect small towns.

In those days, her hometown of Jonesboro was quite modest, as evident by an incident where a man, known to reside on a corner street, had been convicted as a pedophile but managed to avoid prison due to his family ties. This irony, where the perpetrator’s life was spared while justice for his victims seemed secondary, would later become a theme she addressed in her writing.

However, the Atlanta child murders significantly impacted not only Atlanta but also neighboring cities like Jonesboro, transforming their perspectives. Previously, they considered criminals as distinct individuals, often envisioning them as unkempt strangers. But Slaughter points out that they should have been more vigilant about potential dangers in their own communities, even toward the person on the corner.

In “We Are All Guilty Here,” the protagonist, Madison Dalrymple at 17 years old, longs to flee with her friend Cheyenne Baker towards the glamorous lifestyle of Atlanta in 2011. She despises everything about her small-town North Falls and even dislikes the venerable Sheriff Gerald Clifton, whose ancestor was one of the founders of the county. The Cliftons, particularly Gerald, are revered by townsfolk: “Madison’s father quipped that everyone who wasn’t a Clifton either worked for or had been apprehended by the Cliftons.

30-year-old Gerald’s daughter, Emmy, is a sheriff’s deputy in town. On the Fourth of July, she was working the fireworks show while trying to get over an argument with her unreliable spouse. During this time, she ignored Madison who seemed eager to discuss something. Later that night, Madison went missing and guilt-stricken Emmy, guided by her father, participated in a frantic search among other deputies to find out where Madison and Cheyenne were. Unfortunately, the outcome was tragic.

Similar to many of Karin Slaughter’s works, “We Are All Guilty Here” is not for the faint-hearted – she unwaveringly portrays violence against women as a means to caution them about potential threats even in the most trusting of situations. And true to form for a Karin Slaughter thriller, there are unexpected turns, including a significant time leap from the initial disappearances to a second disappearance in North Falls 12 years later, which challenges earlier assumptions about the culprit and initiates a fresh investigation involving Emmy, now older and wiser, her grown son Cole, also a deputy sheriff, as well as Jude Archer, a recently retired FBI profiler visiting to aid with the new case. This narrative framework showcases the intricate planning of a seasoned crime writer beyond just the criminal events at play.

She confesses that right from the start, she orchestrated everything, and enjoys delving into the complexities of the Clifton family relationships which enrich the novel. Moreover, she admits that she had some knowledge about the Murdaugh family while developing them.

In her novel, Slaughter meticulously constructs the settings of North Falls and Clifton County, allowing her to address themes such as racism, xenophobia, and homosexuality – topics also tackled by Southern authors she respects like S.A. Cosby, Wanda Morris, Denene Millner, and Connie Briscoe. “I’m penning my own Southern narrative,” Slaughter explains, “but I reside in Atlanta, a city known for its diversity, multiculturalism, and vitality. Georgia is a state with a dark past tied to slavery, and America continues to grapple with its legacy. As I craft a complex, psychologically intense story, I believe it’s essential to reflect these realities. However, I don’t feel the need to preach from a soapbox as readers are capable of making their own interpretations.

Slaughter undertook a unique task when she transformed “The Good Daughter” for NBC’s streaming service. In her own words, it initially seemed like an intellectual exercise to determine if she could accomplish it, aiming not to squander anyone’s effort. However, Bruna Papandrea of Made Up Stories and Fifth Season joined as producing partners, and the project was immediately greenlit by Peacock for a series.

As the sole writer and showrunner for the majority of “The Good Daughter” production, I was hands-on in every aspect, from penning the scripts to approving wardrobe choices and finalizing budgets. While I’ve held executive producer roles in other projects like “Pieces of Her” and “Will Trent,” my involvement was more about providing feedback rather than directing the creative process. But for this series, I had the unique opportunity to immerse myself fully in every aspect of its creation.

For someone new to it, Slaughter found handling things smoothly. She points out that as an author, you’re essentially managing a small business. This involves dealing with contracts and professional relationships with various publishers worldwide. Since I had experience in these areas, I felt my skills were useful. The production schedule for ‘The Good Daughter’ was like being on a book tour for 71 days instead of the usual two weeks – it was more about waiting than action with media interviews, press conferences, and signings.

The Good Daughter” portrays the narrative of sisters Charlotte (also known as Charlie) and Samantha Quinn, daughters of a contentious lawyer named Rusty Quinn. Their lives are forever altered when their home in rural Pikesville, Georgia, is viciously invaded, an incident linked to one of their father’s cases. This shocking event, detailed in the book’s initial chapter, is both brutal and emotionally devastating, causing a rift within the family and separating the sisters. Years later, they reconnect when Charlie, now a lawyer specializing in crime, witnesses another murder – this time, a school shooting. When their father takes on the defense of the accused teenager, it resurfaces past traumas for both Charlie and Sam, while also unveiling secrets that the residents of Pikesville and the Quinn family have kept hidden for years.

Television

During this chilly season, I’ve noticed a couple of intriguing yet fictional crime dramas joining our television lineup: ‘The Company You Keep,’ ‘Will Trent,’ and ‘Urgent: Missing Persons Unit.’ These captivating shows have certainly kept me on the edge of my seat.

Slaughter felt the filming of “The Good Daughter” was incredibly thrilling, having worked alongside several members of the “Will Trent” team during location shooting in McCaysville and Blue Ridge, where the plot unfolds. She attributes the dedicated crew, her productive partnership with director Steph Green, and outstanding acting – particularly from Rose Byrne as Samantha Quinn, Meghann Fahy as Charlotte Quinn, and Brendan Gleeson as their father Rusty – for making her debut as a showrunner an unforgettable experience. “Everyone truly invested in this tale,” she noted, “and I’m incredibly proud that we managed to narrate it from a woman’s perspective; the entire series is told exclusively from Sam or Charlie’s viewpoint. However, it’s also the first show I’ve ever encountered that features a survivor of gun violence as its central character.

As for taking on another showrunner position, I’m keeping quiet about it at the moment. However, I’m brimming with anticipation for what lies ahead, particularly a follow-up to my North Falls thriller series. But let’s keep the details under wraps for now, shall we? Here’s a little hint: someone meets an untimely end, and the reason behind it is unveiled towards the end. On a more serious note, crafting the intricate world of North Falls and developing its characters requires patience and discipline. I’ve learned over the course of 24 books that readers are willing to join me for the long haul, so I’m trusting in that patience and looking forward to the journey ahead.

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2025-08-08 13:31