When it comes to thriller writing, Liz Alterman understands the balance between compelling storytelling and smart business decisions.
In our recent author interview on the Thriller 101 Podcast, Alterman shared her valuable insights into how to…
- Write characters that feel authentic
- Test story premises effectively
- Navigate the evolving publishing landscape
Her latest novel You Shouldn’t Have Done That, shows her writing skills as well as her practical approach to publishing.
Every aspiring thriller author should consider her insights closely and carefully.
If you missed that episode, you can check HERE
The Energy Test: How to Know if Your Thriller Premise is Worth Writing
One of the most interesting parts from our conversation was Liz’s approach to evaluating story ideas.
Unlike writers who dive headfirst into every idea, she’s developed a system that saves countless hours of wasted effort.
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,” Alterman explained. “I feel like I have to get almost like an energy or… it’s not fleshing itself out at all. And I feel like it’s time to let that go.
This “energy test” is particularly valuable for thriller writing because the genre demands sustained tension and engagement.
We have the best readers. That means they’re always on the ball.
If you, as the author, don’t feel excited about spending months in your story world, how can you expect readers to be captivated for the duration of your novel?
So check this out.
Liz has been sitting with one idea since last August, but it’s not developing naturally.
Meanwhile, a newer concept is already “fleshing itself out,” signaling it’s time to pivot.
This willingness to abandon ideas that aren’t working is crucial for productive thriller writing.
The Weekly Feedback Loop And Its Impact on Character Development
Perhaps the most actionable insight from our conversation was Alterman’s weekly writing group process.
This isn’t your typical critique group. It’s a useful system that transforms first drafts into polished prose.
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. 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.
The key element here is reading aloud.
When you hear your dialogue spoken, inconsistencies in character voice become immediately apparent.
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.
This process means that by the time she completes a “first draft,” it’s actually closer to a fourth draft because she incorporates feedback and rewrites each chapter before moving forward.
For thriller, mystery, and crime writing, where distinct character voices are so important, this approach is invaluable.
Publishing Flexibility: The New Reality for Thriller Authors
The publishing landscape has changed dramatically.
Alterman’s experience illustrates why flexibility is now essential for success.
Her decision to move from larger publishers to working with Incubator Books (a nimble indie press) resulted in fascinating insights about pricing and reader accessibility.
When Cold Creek came out last August, that hardcover was $30, 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.
Her new publisher’s approach represents a more responsive approach to the market.
This strategy has already yielded results. You Shouldn’t Have Done That has received a lot of positive reviews.
For emerging thriller writers, this demonstrates that success isn’t just about how to write a compelling story.
It’s also about finding the right publishing partner who understands your audience and can price your work appropriately.
Actionable Writing Tip: Implement the Read-Aloud Test
Based on Alterman’s insights, here’s a practical exercise every thriller writer should incorporate into their process.
After completing each chapter, read it aloud to yourself or a writing partner.
Pay special attention to dialogue and character voice.
Create a simple system where you:
- Read each chapter aloud before moving to the next
- Mark any dialogue that sounds off or could belong to any character
- Rewrite those sections immediately, focusing on making each character’s voice unique
- If possible, find a regular writing partner for weekly feedback sessions
Here’s a plug for the Storyteller’s Society where serious writers hell-bent on traditional publishing in thriller, mystery, suspense, and/or crime fiction meet to write, edit, and polish their work so it’s ready for traditional publishing.
This approach will help you catch character voice issues early, before they become major problems requiring extensive revision.
Remember…
…readers can tell who sounds real and who sounds just kind of like one dimensional.
