Q&A with Mary Kubica
Photo by Sarah Jastre
In the summer of 2014, amidst the shelves of my local Books-A-Million—a cornerstone of our small town mall before its departure—I experienced a moment of serendipity that would profoundly shape my literary tastes. It was there, just days after its release, that I first laid hands on "The Good Girl" by Mary Kubica. Little did I know, as I flipped through the opening pages, that I was about to embark on a journey that would keep me anchored to my seat, turning page after page until the very end. The book, consumed in one breathless sitting, was more than a mere narrative; it was an intricate dance of suspense and emotion, skillfully crafted by an author whose talent for storytelling was unmistakably clear. From that day forward, Mary Kubica's name has been synonymous with the term 'auto-buy' for me, her novels a collection of portals into worlds filled with tension, mystery, and the raw complexities of human nature.
Mary Kubica has long stood out in the realm of thriller literature, not only for her compelling narratives but for her mastery in balancing the delicate interplay of pacing, character development, and plot twists. Each of her novels serves as a testament to her skill, pulling readers into a meticulously woven tapestry that captivates from the first page to the last. As a fervent admirer of Kubica's work, I was thrilled to have the opportunity to delve deeper into her creative process, the inspirations behind her memorable settings, and her approach to crafting characters that resonate deeply with readers.
The following Q&A with Mary Kubica offers a rare glimpse into the mind of a master storyteller, whose works, including her latest masterpiece, "She's Not Sorry," continue to redefine the boundaries of the thriller genre. Through her thoughtful responses, Kubica not only sheds light on her personal journey as an author but also imparts valuable wisdom for those navigating the intricacies of writing compelling, suspense-filled narratives.
Mastering Pacing
Q: "She's Not Sorry" is celebrated for its masterful pacing, which perfectly balances tension and intrigue. What is your approach to pacing in your writing? How do you determine the right moments to accelerate the action versus when to slow down and delve deeper into the characters' internal worlds?
A: Pacing and characterization are both incredibly important to me as a writer. It’s a delicate balance; I want readers to think of my books as pageturners, and I also want my characters to resonate with readers on an emotional level. I’m not a plotter when I write, so it’s not the type of thing I plan out in advance, but is more often a part of my writing that doesn’t get finessed until it comes to the revision stage. That’s when I read through a draft and ask myself if the characters’ internal thoughts are slowing the pacing too much, or if the pacing is too brisk that readers won’t be able to connect with the characters on a personal level and I need to slow down and add some backstory or internal dialogue to find that right balance.
Crafting Twists and Unveiling Secrets
Q: The clever construction of twists and the gradual unveiling of secrets are standout features in "She's Not Sorry." How do you plan these revelations to ensure they are both surprising to readers and integral to the plot's progression? Additionally, would you consider yourself more of a plotter or a pantser? How has your writing process evolved over the course of your career to achieve such mastery in weaving engaging and intricate narratives?
A: I’m not a plotter at all. Generally I go into my books with only a starting point in mind (like a missing woman, for example) although, in rare cases (She’s Not Sorry being one of them!) I know my twist first and dream up a scenario that will jibe with that twist. That said, I don’t have the vast majority of the book worked out or know my characters when I start writing; these things take time to figure out, and I absolutely love the organic feel and the spontaneity of not knowing what I’m going to discover about my characters or my books every single day that I sit down to write. I genuinely love that aha moment when I start to see how the pieces I’ve written will come together. I believe that if I, as an author, am surprised, then the reader will be too!
Chicago as a Character
Q: The city of Chicago is more than just a backdrop in your stories; it's a living, breathing entity that influences the narrative. Can you discuss the role of Chicago in your books? What aspects of the city do you want your readers to takeaway from your work?
A: I’ve lived in Chicago and the suburbs almost my entire life. I adore this city. It’s home for me, which makes it easy to write about and to feel as though I can truly convey the culture, landscape and vibe of the city. I hope that readers feel my love for Chicago and that those who are familiar with the city are at home in my books, and that those who aren’t familiar with it feel like they’ve experienced a part of the city through my words. It’s a beautiful, vibrant place to live and the people of Chicago are the best.
Q: A follow-up question— what was it like exploring a new setting when you wrote "The Other Mrs." - and do you foresee venturing into other locations in your future work?
A: I once thought I’d set all my novels in Chicago, but with The Other Mrs., I was ready for a little change! I truly enjoyed setting that book in Maine and having the opportunity to research a part of the country that I didn’t know much about before I began writing. I’d been to Maine before, but I had never stepped foot on a Maine island and didn’t know much, if anything, about island living. There was quite a bit of research I needed to do for atmosphere and accuracy. The island setting, with its lack of emergency and medical care and the lack of transportation to the mainland, provided a wealth of tension that I couldn’t have had if the book was set on the streets of Chicago. I definitely foresee myself venturing into other locations for future books, and in fact, the book I’m working on now is set in the Northwoods of Wisconsin!
Character Creation
Q: What was research like in accurately portraying the mindset of an ICU nurse, like Meghan, and the daily challenges she faces at work? How did this research influence the development of her character and the authenticity of the hospital scenes in the novel? From what you learned during your research, what was most surprising to you? Additionally, do you ever draw from real-life individuals when creating your characters, or are they purely fictional constructs?
A: All of my characters are fictional, though I might borrow a fun anecdote from a friend’s life or a memorable detail about their appearance, things like that. But all in all, the characters are fictional! She’s Not Sorry required more research for a character than I’ve done in quite a few books. I didn’t know much, if anything, about the life of an ICU nurse before starting this book, and there was so much to learn just to describe the ins and outs of Meghan’s day or scenarios she might encounter at work. I did as much research as I could on my own, but I’m also very fortunate to have three friends who are ICU nurses and another who just graduated from nursing school – all who were willing to answer my many questions, some of which verged on totally inappropriate! They also read a draft of the book when it was done and helped me finesse some of the details which might not have been accurate or totally believable. I’m so grateful for their help and couldn’t have made the story what it is without them. I can’t say what surprised me most without it being a major spoiler, but I will say that it was quite eye opening how exposed nurses are and how much they put themselves on the line for strangers.
Complex Family Dynamics
Q: "She's Not Sorry" digs into the relationship between single mom Meghan, and her teenage daughter Sienna, adding profound depth to the story. What was your approach in depicting their relationship to reflect the intricacies and nuances of their circumstances and personalities?
A: I have an eighteen year old daughter, who would have been sixteen like Sienna when I started writing this book. The mother/daughter relationship is a powerful one, though it can be quite fraught as well. Because the main storyline happens for Meghan at work, I wanted readers to see a personal side of her too – that of a single mother raising a teenage daughter. It made her very human to me, and will to readers as well.
Antagonists with Depth
Q: Across your novels, you've crafted memorable antagonists who add significant tension and intrigue. Who is your favorite antagonist that you've written (or in which of your works do they exist), and what makes them stand out in your mind? What elements do you believe create a compelling adversary in a thriller?
A: This is a great question! What I love about antagonists is that I believe (except for the rare sociopath) people are not ever entirely good or entirely bad; there is a lot of gray in between, and that’s what I enjoy exploring – when good people do bad things, or when “bad” people have redeeming characteristics or are, in essence, good but make poor choices out of need or circumstances. Colin in The Good Girl is the favorite antagonist (favorite character?) I’ve ever written. It’s been almost a decade since that book published and I still think of him all the time.
Impact of ITW Membership
Q: Being part of the International Thriller Writers (ITW) community has its unique advantages. Can you share how ITW has influenced your career and why you believe it's a valuable resource for both established and emerging thriller writers, as well as publishing professionals?
A: ITW is a wonderful community, and I treasure being a part of it. It’s incredible to connect with other authors at various points in their careers. One of the best experiences I’ve had at ITW is teaching Master Class and having the opportunity to work with aspiring authors – from writing workshops to critiquing work to having very open discussions on the realities of publishing today. What I’ve learned in the last ten years of publishing is that, on the whole, writers are incredibly warm and supportive people, and there is nothing they won’t do to champion or encourage their fellow authors, regardless if they are aspiring, debut or published authors with twenty books under their belt. ITW is just one example of this.
Advice for Aspiring Thriller Writers
Q: Delivering twists that genuinely surprise readers is a signature element of your storytelling. What advice would you give to aspiring writers on crafting plots that keep their audience guessing until the very end?
A: Pulling off a good twist is a delicate balance of shocking the reader, but also making it possible for them to go back for a re-read and see the clues you’ve left for them in retrospect. You want readers to feel like a twist has truly been earned, rather than for them to feel blindsided or manipulated by a twist. Keep in mind that no book is ever perfect as a first draft. There is so much change and reworking that goes on during the revision process, and getting outside feedback during that phase is vital. Have trusted friends and family read a draft and let you know what they think – were they surprised by your twist? If not, see what you can do to make it work even better.
Concluding this exchange, I extend my deepest gratitude to Mary Kubica for sharing her time and insights with us. Her generosity in revealing the nuances of her writing process not only enriches our understanding of her novels but serves as an invaluable resource for aspiring writers and a source of inspiration for her readers. Kubica’s commitment to exploring the depths of the human psyche, set against the backdrop of meticulously crafted plots, continues to solidify her status as a pillar of the thriller community. As we eagerly anticipate her future works, we celebrate the indelible mark she has made on the world of literature, forever grateful for the worlds she has opened to us through her storytelling.
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