Interview with Robyn Harding

The Gloss Book Club: The Drowning Woman centers around themes of desperation, betrayal, and survival. What inspired you to explore such intense psychological themes in this novel?

Robyn Harding: I think we were all really changed by the pandemic, but I was disturbed by how disproportionally women were impacted. Female owned businesses failed at a greater rate; domestic abuse skyrocketed; and anxiety and depression levels were exceedingly high among females. I wanted to explore two very different women, in two very different situations, who had both suffered from the fall out of the pandemic in unique and devastating ways.

TGBC: The two main characters in the book, Lee and Hazel, come from vastly different worlds. How did you approach crafting their distinct voices, and what challenges did you face in balancing their perspectives?

RH: I love writing multiple points of view. I feel like it’s a great way to move a plot forward and explore scenes in greater depth. Lee and Hazel live in such disparate worlds and have such different lifestyles, that it was easy to keep their voices distinct. As a writer, I sometimes feel as if I’m an actor inhabiting each character. I can almost feel them in my body and hear them in my head.

TGBC: The novel dives into the complex idea of morality—what’s right or wrong in life-threatening situations. How did you want readers to reflect on the moral dilemmas presented in the story?

RH: No one truly knows what they’re capable of until they’ve been pushed to the brink. There are some morally gray characters in this novel and some obvious villains. I wanted readers to think about how far they’d go to save themselves, save a friend, or save a stranger.

TGBC: Suspense plays a key role in this book. How did you maintain tension and unpredictability throughout the plot? Were there any particular techniques you used to keep the reader on edge?

RH: I was inspired by the structure of Park Chan-Wook’s film THE HANDMAIDEN. (The movie is based on the novel FINGERSMITH, by Sarah Waters). I wanted readers to think they knew what the story was about, and then reveal a hidden layer beneath, and a hidden layer beneath that. It was complicated to write, but I love this story-telling device.

TGBC: Did any part of writing this book resonate with you personally or challenge your own perspectives?

RH: When I chose to write an unhoused character, I initially thought I could just use my imagination. What would I do if I’d lost everything but my car? I soon realized this would be a disservice to the experience, so I reached out to a friend who spent years as an outreach worker with the homeless population. There were so many aspects I hadn’t considered: the physical fear and danger; the lack of sleep; the struggle for basic hygiene; and, of course, the shame.

TGBC: You’ve written a variety of suspense and thriller novels. How has your approach to writing evolved over the years, and how did it influence The Drowning Woman?

RH: Since I started writing thrillers, I’ve used screenplay structure to loosely plot my novels. It’s like marking the goal posts within a manuscript, so that you have pit stops within a vast plot. Every novel is a unique challenge, but with each book I write, I gain confidence to try new things.

TGBC: From The Party to The Swap and now The Drowning Woman, your books often explore the darker sides of relationships. What draws you to this subject matter, and how do you keep it fresh with each novel?

RH: I’m fascinated by the darkness in romantic relationships, friendships, and family bonds. So many people present a perfect façade but there is usually much more under the surface. Reality never ceases to provide ideas for thrillers, and there are so many areas I still want to explore as a writer.

TGBC: You transitioned from writing lighter works to darker psychological thrillers. Was this shift a natural progression for you as a writer, or was there a defining moment that prompted the change?

RH: I shifted away from novels and spent several years focused on screenwriting. I started writing straight-up comedies but eventually, I had a film produced that was a dramedy. When I decided I wanted to write a novel again, I realized I was enjoying darker themes in my reading, film and TV choices. It was an area I was excited to explore.

TGBC:Are there any upcoming projects or themes you’re excited to explore in your future work?

RH: I’m currently working on a book about infidelity, secrets, and what is forgivable. THE SPANISH HOUSE will be out in Spring 2026!

TGBC: What advice would you give to aspiring writers who are trying to break into the thriller genre, especially in terms of crafting compelling characters and gripping plots?

RH: There are so many established thriller voices that I think this can be a difficult genre to crack into. I think a “big idea” is key. Don’t be afraid to explore new directions such as incorporating sci fi or magical realism elements. And relatable (not necessarily likeable) characters will always be the most important aspect of any novel.