Liz Moore: From Novelist to Best-Selling Author

This month, a television adaptation of Liz Moore’s acclaimed novel “Long Bright River” made its debut on Peacock. Meanwhile, her latest book, “The God of the Woods,” which has remained on the best-seller list for an impressive 36 weeks and counting, is on the verge of reaching one million copies sold—a milestone typically associated with well-known literary figures or celebrities.

Moore, however, does not belong to that exclusive group of instantly recognizable authors. Yet over the past two decades, she has demonstrated remarkable versatility, earning high praise from her editor Sarah McGrath, who described her as “a writer who can do anything.”

Her works occupy a unique space between literary and commercial fiction, blending richly realized settings with deeply human characters who make both relatable and devastating choices. Moore’s novels have an unusual cross-generational appeal, capable of engaging both a teenage reader and their middle-aged parent. The sheer diversity of her work is such that many readers fail to recognize that all her books are by the same author.

“I get messages saying, ‘I loved your new book. Do you have any others?’” Moore, 41, shared during a conversation at a Philadelphia cafe. “Or people refer to ‘The God of the Woods’ as my second book because ‘Long Bright River’ was the first one that really gained attention.”

In reality, “The God of the Woods” is her fifth novel. She wrote her debut, “The Words of Every Song,” while still a student at Barnard College. Shortly after graduating in 2005, she secured an agent who had visited the campus for a publishing industry panel.

“I sent a message saying, ‘I have a manuscript of interconnected stories about the music industry. Would you be interested in reading it?’ She said yes,” Moore recalled. “Looking back, I realize what an incredible stroke of luck that was.”

At that stage in her life, Moore was more invested in music than in writing. Her folk album “Backyards” was released in 2007, the same year her debut book came out. Yet it was her prose that garnered critical attention. The rock critic Robert Christgau described her novel in The New York Observer as “likable, well-rendered, sweet,” and commended its “wholesome values.”

In her early twenties, Moore worked in the editorial department at the Morgan Library and at Matt Umanov Guitars in the West Village. Over time, she found herself drawn more seriously to writing. “I eventually allowed myself to consider the possibility that fiction could be a real pursuit,” she said.

She went on to earn an M.F.A. at Hunter College, where she studied under Nathan Englander and Colum McCann. It was there that she began work on her second novel, “Heft.” However, her first agent had left the publishing industry, and the second agent she worked with for over a year ultimately declined to represent the book.

After enduring numerous rejections, she signed with Seth Fishman of the Gernert Company, who successfully sold “Heft” and her third novel, “The Unseen World,” to W.W. Norton & Company. Both novels are poignant and intellectual, akin to folk songs that linger in the reader’s mind.

“‘Heft’ performed better than expected, while ‘The Unseen World’ didn’t quite meet expectations,” Moore noted. A New York Times reviewer had described the latter as “fiercely intelligent” when it was released in July 2016—just two months after the birth of Moore’s daughter.

She quickly discovered the challenges of balancing book promotion with new motherhood. “I agreed to go on tour with a newborn, not realizing how difficult it would be,” she admitted. “I was pumping in bathroom stalls, severely sleep-deprived. I thought it was possible, but it was just …” she trailed off.

At that time, Moore questioned whether she could ever write another book, let alone publish one. Still, she persisted, continuing to write and teach—first at Holy Family University in Philadelphia, then at Temple University, where she now directs the graduate writing program.

“I was raised to always keep a day job,” she explained. “And I genuinely love being part of a teaching community.”

The inspiration for “Long Bright River” stemmed from a photo essay she worked on in 2009 after moving to Philadelphia. Photographer Jeffrey Stockbridge documented women in Kensington battling addiction, while Moore wrote their stories. After the piece was published in The Rust Belt Rising Almanac (2013), she remained connected to the neighborhood, leading free writing workshops at a women’s shelter for two years.

A novel began to take shape, centered around a detective searching for her drug-addicted sister.

“I’ve grown up surrounded by family members in various stages of addiction or recovery,” Moore shared. “I never specify who they are, nor do I speak for them. But my own experience has given me a deep understanding of addiction’s language.”

Moore spent around four years crafting “Long Bright River,” the typical gestation period for her novels. In 2018, Gernert sold the manuscript to McGrath at Riverhead in a highly competitive auction.

“I’m always looking for literary fiction with broad appeal,” McGrath said. “I didn’t expect to find that in a novel about a Philadelphia detective. But Liz writes characters with such depth and compassion, and she brings places to life.”

Released on January 7, 2020, the book became an instant bestseller, a “Good Morning America” Book Club selection, and one of Barack Obama’s favorite books of the year.

“It opened up conversations within my family that had long been avoided,” Moore reflected. “It was cathartic for all of us.”

Just two months later, the COVID-19 pandemic upended daily life. Moore found herself juggling full-time teaching via Zoom while caring for her three-year-old daughter and ten-month-old son.

“My husband and I cobbled together a makeshift playpen in the living room,” she recalled. They took turns working in their South Philadelphia rowhouse, and Moore began rising at 5 a.m. to squeeze in writing time.

“The God of the Woods” emerged from that period—a project born out of necessity, a way for Moore to rediscover herself. “I went on autopilot,” she said. “I just had to keep going.”

Writing the novel was a grueling process. “There are so many characters, so many timelines. I never outline—I just write, experiment, and fail until I find my way,” she admitted.

The novel, centered on the mysterious disappearances of the Van Laar siblings, unfolds with an immediacy that mirrors a real-time investigation, despite taking place primarily in 1975. Its setting holds deep personal significance for Moore: her ancestors settled in the Adirondacks, her grandmother was born nearby, and her family still owns a cabin in the region.

“The God of the Woods” was a Book of the Month Club selection and later became the Tonight Show’s summer read for 2024. It gained traction rapidly, securing a spot on the best-seller list for so long that Riverhead now updates Moore via email rather than celebratory phone calls. Still, she remains cautiously optimistic.

“I’m naturally pessimistic and superstitious,” she admitted.

Moore’s growing recognition has also strengthened her literary community. She co-founded a Philadelphia-based women writers’ group that includes acclaimed authors like Carmen Maria Machado, Asali Solomon, and Kiley Reid.

“Liz is incredibly generous and has an instinct for fostering community,” Machado said. “She’s a deeply empathetic writer—that’s her superpower.”

For the Peacock adaptation of Long Bright River, Moore embraced the collaborative process of television writing. “It’s the closest I’ll ever get to excelling at team sports,” she joked.

As a teacher, Moore remains pragmatic about the realities of a writing career. “I tell my students, ‘I still have a day job, and you probably will too. But if you find joy in writing—even in a journal—that’s meaningful. That’s something no one can take away.’”