Author Liz Alterman Reveals Her Weekly Writing Ritual That Transforms First Drafts Into Gold And How to Know When Your Story Idea Is Worth Writing

Liz Alterman joins the podcast to discuss her latest novel, "You Shouldn't Have Done That", and reveals the unconventional strategies that have shaped her successful writing career. 

From her unique character development process involving weekly read-aloud sessions to her bold decision to switch from traditional publishing to a nimble indie press offering 99-cent e-books, Alterman shares practical insights that challenge conventional wisdom about both craft and business.

She opens up about how she tests story premises, develops authentic character voices, and why she believes flexibility is the key to getting your work into readers' hands.

 
Whether you're struggling with character development or navigating publishing decisions, this conversation offers actionable advice for writers at every stage of their journey.

What You'll Learn:

• How to test story premises before committing months to writing.
• The weekly feedback system that prevents major character voice problems.
• Why pricing strategy can dramatically impact your book's reach and success.

Click here to learn more about Liz Alterman.

Guest Bio: Liz Alterman is the author of the award-winning memoir, Sad Sacked, the young adult thriller, He’ll Be Waiting, the suspense novels The Perfect Neighbourhood, The House on Cold Creek Lane, and You Shouldn't Have Done That, as well as the romcom Claire Casey's Had Enough. Her work has been published by The New York Times, The Washington Post, McSweeney's Internet Tendency, and other outlets. Subscribe to her Substack where she shares the ups and downs of the writing life (and cat photos). Liz lives in New Jersey with her husband and three sons. When she isn't writing, Liz spends most days reading, microwaving the same cup of coffee, and looking up synonyms.

Episodes I think you'll love…

1. The Art of Dual POV & Crafting Psychological Thrillers with Liz Alterman
2. Writing Character Backstory with Author Liz Alterman
3. Literary Agent and Author Jenna Satterthwaite on Making it in the Publishing Industry
4. First Page Formula: Author and Writing Coach April Davila on What Agents & Readers Want to See in Your Thriller Manuscript Opening

Get the list of 125+ Literary Agents who rep Thriller, Mystery, Suspense, and Crime Fiction

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Transcript

David Gwyn: 0:00

Liz, thank you so much for being here on the Thriller 1 0 1 Podcast.

Liz Alterman: 0:04

Oh, David, thank you for having me again. I'm so grateful for your support and I listen to your podcast all the time, whether I'm walking in my neighborhood or cooking dinner, It's so helpful.

David Gwyn: 0:14

Cool. Thank you. I, I appreciate that and I appreciate the plug. So for anybody who's listening and knows that you're listening, which is important I love it. I love it. Good. Thank you. So your novel you shouldn't have done that is out now. How does it feel? I.

Liz Alterman: 0:28

It feels good. This is a story that I, I had a lot of fun writing it. I think it has several different points of view, so I know we've probably talked about this in the past, but that's one thing. I know some people will say, do you find it really challenging? And sometimes I do to kind of differentiate the voices, but I also think it helps if you're kind of hitting a roadblock with one character, you're kind of like, you know what, let me just kind of shelve them for a minute. And go revisit this other character. So I think that that was fun and I'm, I'm glad that it's out. I went with a different publisher this time, incubator books, and I had a really great experience. They're very nimble. They kind of put it out quickly and what they do also is they, they really took my feedback to heart on the cover. I got to have a meeting about the cover and they test it where they put it on Net galley and see how it does. So I didn't really have. A publication date, like a set date until maybe like less than a month away.'cause they're testing to see how the cover performs.

David Gwyn: 1:36

Oh, wow.

Liz Alterman: 1:36

Right. And there's not like a long lead time with pre-orders. They're kind of like keeping it tight.

David Gwyn: 1:42

Yeah.

Liz Alterman: 1:42

And they know kind of what they're doing with ads and so it's, it's kind of been a very different experience and it's priced differently too. So the eBooks 99 cents. And so I kind of felt like this was something so different because when cold Creek came out last August, that hardcover was$30. Mm-hmm. And I feel like in this economy, you know, I'm very fortunate to have neighbors and friends who came out to the book launch to support me. But at the same time, I'm like, oh my gosh, that's like, you know, that's like a takeout dinner,$30. I'm like, I hope you really like this, or, you know, like kind of I'm pulling people aside, like maybe ask the library to get a copy. So it's, it's been, and I know I'm a terrible salesperson, but I, it's been dif it's been interesting to see how, how a 99 cent book performs versus an 1899 ebook. So, yeah.

David Gwyn: 2:34

I've been hearing more about publishers who are coming out and, and, and doing great books and they're kind of taking that format, that nimble format where they're doing a lot more of, I think like the marketing aspect of, of book publishing. it does feel like more people are reading on Kindle and on their phones and on e-readers than ever, and to ignore that, like you're saying, just put out another. Hardcover book and hope that somebody has, like you mentioned, 20,$30 in, in this, in this industry is tricky. And so I love that. I think that's really interesting. And, and, and I know we've talked in the past about all your different kind of publishing experiences and how, how I think how great you are about just saying like, whatever comes my way in the publishing industry, I'm just gonna write the next book and I'm gonna put it out when, when someone wants to put it out. And I think that's really cool and I'm glad to hear you had a positive experience with them because I think. The more publishers are that, that are out there, the better for, for writers, but also for readers. And I think that consolidation that we've seen in the last few years, I think having places like Incubator out there who are putting out great books is really good for readers, for, for writers, for really everyone involved. I.

Liz Alterman: 3:44

I agree, because like you're saying, like I, I understand if you're a household name, you know, everybody is going to pay$30 no problem for the new Hunger Games book. But, you know, a Liz Alterman book, like even my mom is kind of like, you got an extra copy. So that's, you know, I, and I get it. I totally get it. But yes, I am someone I kind of joke around, like with my writing buddy to whom I dedicated, you shouldn't have done that. Like I'll say, if there are leftovers in my fridge, like somebody's going to eat that. And that's how I feel like when I write a novel, like I'm gonna work and revise and you know, I'll get the beta readers and I'll share it and I'll hire a developmental editor. But then I want to really see it. Go out into the world. And that's, you know, that's what makes me happy. So I'm not gonna be precious. Like I have a friend who was just saying she was in touch with an editor who was saying last year, this editor for a big five got 1200 submissions and had 12 slots. Wow. And so, like when I think about those odds, like. I just think you, if you really wanna see your book in the world, like being flexible is your best bet. And, and to work. I'm not saying to go with anybody, like go with good people, vet them, ask other authors, how was your experience? And I've had other authors, my young adult. Thriller, he'll be waiting, came out in 2021 and I still will have authors reach out to me and say like, Hey, tell me about your experience. And I'll say, you know, they, they were great. They did a blog tour. They did, they still promote that book and they get it into newsletters. They knocked down the price, which as you can see, that's kind of like my, my new thing I'm cheerleading is like just, I think price is very important in today's market.

David Gwyn: 5:27

Get, get it into as many hands as possible. And I, I've seen you, you have a ton of reviews already and really positive reviews on, on, you shouldn't have done that, which is amazing and, and, and really well deserved. So before we get any further, I do want you, I wanna give you an opportunity to tell people a little bit about what you shouldn't have done. That is about.

Liz Alterman: 5:44

Oh, thank you. So it follows two families. Each family has a son who's in his mid twenties. There's Brad Chapman and Cal Whitaker, and they met when they were in preschool and their moms became friends and then they sort of introduced the whole family families to each other. And they kind of, you know, celebrate birthdays together. They've gone on vacations together and, cal has always kind of been the golden boy, sort of, you know, handsome, athletic, leading this charmed life. And he and Brad go off to different colleges. Brad drops out for a reason. You'll learn in the book, and he goes out to Wyoming to work as a ski instructor. Now Cal does graduate and his dad wants him to work in the families like commercial real estate business. Butal kind of always being self-assured and self-guided feels. You know, that's not for me. I'm going out to Wyoming to hang out with Brad and when he gets out there one Saturday afternoon, they go skiing together and only Brad returns and he does not report Cal missing. And you know, you kind of. You don't really know as the reader does. Is Brad a suspect or is Brad as he'll tell you like, Hey look, I'm his roommate. I'm not his babysitter. And so of course as Brad seems a bit withholding and Cal is missing and you know, it's snowing, it's December and the families are slated to go there together to celebrate the holiday season. Like tensions escalate between the two families and things kind of come to a head. Yeah.

David Gwyn: 7:21

I, I, I love that premise and intro, which, which is one of the things I wanted to talk to you about because I think one, two really of the, of the many things that you do so well is you always have a really unique premise. I feel like in this industry where you, you know, we're all, we're all thriller readers here, and, and if, if you're listening along, you're probably a thrill, a thriller reader. And it's, and I, I talked to Emma Desi about this once in an interview like. There's books that you pick up and you read the back and it's like, yeah, that's a thriller. It just is one. And then I think even if you buy it, even if you're like, this is in my wheelhouse, I'm gonna buy this book, you buy it and then it just like sits there for a long time. It's not the first book you pick up. It maybe is a book that you come back to a couple months later or you like are like, wait, what's that book about again? Because they all kind of blend together. And I feel like that is not like your books at all. Like you really have nailed this like. Identify a really cool premise, a really unique premise. And I, I wanna dig in on that a little bit here. So can you walk us through, you know, one of these stories e either maybe you, you shouldn't have done that, if you remember kind of where, where that story came from? Ab absolutely. Yeah, just like where that, when that premise comes about, how you think about coming up with a premise, like just that process, because I, I'm really interested in that.

Liz Alterman: 8:38

Oh, thank you. Well, I'm gonna say, David, I'm gonna tell this to my children because I'm a mom of three boys and they're always like, why is there like a kid going missing in every book? Are you trying to get rid of us? And I always say like, as a parent, that is my greatest fear. You know? Yeah. Like I, I don't care if dinosaurs come back and roam the earth or like a zombie apocalypse. Like if I lose a kid in a grocery store, my heart stops. So that's like my big thing. So I will say with this. Novel. I think I had seen something on the news about these guys who were roommates somewhere out west, and one of them had gone missing and I, I believe it was more of like a cross country skiing thing and they got separated and, and I think it was kind of like nobody was necessarily accusing the roommate, but it was kind of like you know, why didn't you stay together and what happened? And that I never really found out what happened there, but it kind of stayed with me and I just started to kind of imagine what if the families were. Friends, what if what if this was like more of just kind of roommates who were thrown together? What if they'd been lifelong buddies? Like all of those things that, you know, when someone. Is your best friend. It's almost like you also know all of their secrets and all of like the bad things, all their bad qualities and like what if time that they'd spent together had kind of created this friction where you didn't know was one really, almost glad the other guy didn't come home and, and had that factor in. So now I will say in writing it, it originally started in a different place. It started with. The guys in the condo on the day they're due to leave, to go skiing.

David Gwyn: 10:24

Hmm.

Liz Alterman: 10:24

And the agent I had at the time was saying, your readers are women, and let's start from the mom's perspective. So I will say, I don't know for anybody listening that, that even though I, I think of myself as open to revisions, when I got that feedback, I really had to sit with that for like a month to think about how to. Shift that around. And and I still wonder, is this, is this the right opening? I think we all as writers, no, you can start anywhere. And that's kind of a blessing and a curse. So

David Gwyn: 10:59

that's so interesting. So, so do you, so once you have this idea floating around your head, you've got all these like what ifs, what ifs, what ifs. Are, do you go right to writing or do you go to an outline? Like how do you kind of test this idea to, to say like, okay, this is the story now that I'm gonna spend. However long it takes to write. Like how are you sure Before you, are you sure before you get started or you just kind of dive right in?

Liz Alterman: 11:24

That's a great question. I think I tend to sit with it and I think I probably, we probably talked about this when we talked about the perfect neighborhood. Mm-hmm. That story follows a little boy who goes missing on his walk home from kindergarten. And I woke up with a dream from a dream with that idea. And I remember telling my husband and he was like, oh, so many kidnapping stories. Don't write that. Think of another idea and. I waited for like six months to come up with something else, and the whole time these characters were kind of fleshing themselves out. And this neighborhood was kind of building itself in my mind. And after six months, I had nothing else, no other ideas. So I just sat down and I tried to just throw down every idea I had. And I think, so I think that now, I don't wait six months. But I would say with this novel, I started kind of thinking about each character. And and what would they be like? What were some of you know, their flaws or their complications, their strengths, their weaknesses, and how could that kind of all mesh? And but I also, this is gonna sound strange, and I don't know if you feel this way as a writer, but I almost feel like I have to get a feeling. A feeling like a good feeling like I wanna spend time in that world. Like almost how you have a favorite restaurant or a favorite bookstore, like you get like a good vibe from it. Mm-hmm. I feel like I have to get almost like an energy or. I can tell, like, like right now, I have an idea for something and I've probably been sitting with it since last August and wow. It, it's not fleshing itself out at all. And I feel like it's time to let that go. Like it's just, oh wow, it's not gonna come. And I think by now I would know so. And then in the meantime I had another idea for something and I can already feel it fleshing itself out and, and so I probably will try to pursue that. But I do, I do try to outline, and one thing I try to do is know the ending if I can. Maybe not the entire ending, but. At least something that makes me feel like I'm driving toward a destination so that it's not open. I never really know the middle, like a, a new character can pop up at any time, but I like to, to try to know where the main characters will land if I can.

David Gwyn: 13:39

Nice. And, and that's actually a perfect segue because I wanna talk to you about your characters because I feel like your character, I, I feel when I read your books, I can tell that you really know your characters, that you know'em inside or now. At least that's how it comes across on the page. Oh, thank you. And so what is your process for developing characters? Is this something, it doesn't sound like maybe it's something that you do beforehand as much as it is, is it like part of the, your writing process as you're going through a first draft?

Liz Alterman: 14:09

I think so. Like I, I have an idea for them and, and some definitely come. More fully formed than others. But I, I will say, like, I try, I try to almost sound almost like dolls. Like I try to keep them with me at all times and like, and keep them in my head and, and just kind of see what quirks or, you know, if you're out somewhere and you overhear dialogue, kind of think like, Ooh, is there a character who sounds like that voice? Or like, in this I had a lot of fun writing Emerson, the teenage girl. And because I felt like she was, had a different voice from the others. But I think too as I mentioned, I share pages every week or two weeks whenever I have them with a dear friend of mine and she will kind of call me out. And I was in a writing group before that, that's where we met. And you know, almost will say like, Hmm, I think Ivy would say this here, or, or this sounds more like. This character. And so she, I feel like she really keeps me honest and we also read aloud to each other. And I think that helps. Where I hear, oh, that doesn't sound quite right. Or, you know, in this person's voice, they wouldn't say that. So that, that's another thing I think helps.

David Gwyn: 15:21

That's really cool. I, I haven't heard that before. That, I mean, we, our, the Storyteller Society, we, we have groups that meet and kind of exchange early pages just as a way to keep accountability, but also, you know, to kind of check in kind of that, that same thing. But I like the idea of reading it aloud. It stresses me out a little bit to think about doing that, but at the same time, I can imagine how beneficial it would be I imagine then you are, by the time you get done with your first draft, I mean, that's gotta be probably a pretty solid draft.

Liz Alterman: 15:51

Well, it's, that's, it's funny you say that because we just met Friday night and we invited another friend of ours who's work shopping something and and she was saying these drafts. Seem very polished. Now, I have to say, not so much for me, but for my friend. My friend almost never has a typo. She's amazing. I don't know how, but she's also a perfectionist, whereas I'm more like, okay, let's like get this done onto the next thing. But I do think when you know you're going to read it aloud, you do put an extra like level of care into it. I will try to. Read it. I'll try to almost read it aloud to myself and hear where I'm using the same words or where things just sound clunky. But I do like some people will say, oh, that's your first draft by the time I finish. And I feel like saying it's really kind of more like my fourth. Yeah. Because after she and I talk, I take her feedback and I rewrite that chapter again. So

David Gwyn: 16:43

yeah. That's really cool. I, I like that process. I like that kind of. The fast feedback loop I imagine keeps you from, from going too far off the rails at times and can keep you, keep you on track, which I, I really like. Especially when it comes to character voice, which I think is sometimes for me, one of the hardest things that come sometimes comes out you know, third, fourth draft. By the time I've really. Figured out what that character sounds like. But it sounds like you found yourself a nice little shortcut,

Liz Alterman: 17:08

Yes. I'll say like, definitely some, some are stronger than others. Like some I need to go back and think, okay, what is this person's backstory? What's their childhood? Where are they now? And it it's almost frustrating'cause you want to just move forward, but I think readers can tell who sounds real and who sounds just kind of like one dimensional. So.

David Gwyn: 17:30

No, that's great.

Liz Alterman: 17:31

It's always worth the effort.

David Gwyn: 17:32

Yeah. So Liz, this was so much fun. Thanks for taking the time to chat with us here on Thriller 1 0 1. My last question for you is just where can people find you? Where can people look you up?

Liz Alterman: 17:41

Oh, thank you so much. I'm at liz alderman.com is my website, and I'm pretty much on social media as at Liz Alderman, so I hope anyone who reads anything, I always say, I'm always happy to pop into a book club via, via Zoom or in person if you're in New Jersey. I once went to a book club and I didn't know the people and in the driveway I was like, oh my gosh, I'm setting myself up for my next thriller. Who knows who's in there? So,

David Gwyn: 18:06

that's so cool. That, that's amazing. Yeah. And anybody who's listening, please take Liz up on that. Send her an email. Let her know that you, that you are, are reading her books that you like her stuff. Because it, it means a lot. I mean, I imagine it means a lot to hear from people and you know, you're such a, a generous person with your time. And, and so if you're reading something of Liz's, please reach out. Let her know how much you like it.'cause I'm sure you do. So Liz, this was so much fun. Thanks for, thanks for taking the time.

Liz Alterman: 18:30

Oh, David, thank you so much. I hope we can chat again soon.