The Insecure Writers' Support Group is excited to introduce our readers to Tom Bromley. He's spent many years in the key aspects of this writing business and offers his expertise to those who are pursuing a career in this challenging field.
And now...meet Tom!
Interview
Your writing journey started with a passion for storytelling. What inspired you to write your first book, and how did that experience shape your career as a writer?
I started writing when I was playing in bands after college and everyone else got up later than me, so I had some time to myself! The first book I tried went nowhere, but when the band split up, I wrote a novel based around my band experiences and that became my first published novel. I learned on the job writing that book – I did five drafts over five years and taught myself how to write in the process through trial and error. Mainly error!
Having spent over two decades in publishing as an editor, publisher, and ghostwriter, how has working on so many different projects – and areas of publishing – influenced your perspective on writing?
I would hope it gives me a more rounded approach. So I try to remember the writer’s sensibilities when editing and bring that editorial eye in when rewriting my own work. Working on all those books tends to reinforce your beliefs about writing, and to understand how trends may come and go, but good writing lasts.
What’s one key lesson you’ve learned from working in the publishing industry that you think every aspiring novelist should know?
That getting published isn’t a panacea. You’re still there, at your desk, staring at the computer, working out what to write next. And those insecurities don’t go away, they change: instead of ‘am I good enough to get published?’ they become ‘am I good enough to stay published?’ instead.
Are you a plotter or a pantser? Can you tell us more about how you prepare to write your books, and the importance of preparation more generally?
I personally think that split is a little too binary – it’s more of a sliding scale between the two and the key is to work out the sweet spot of freedom/planning that works for you. I like to keep things fairly simple in terms of plotting for my fiction: I have an overall story arc of where I want to get to, but don’t know how I’m going to get there. That said, I do tend to base my books around specific real-life events, which helps create a natural structure in the background to work with.
For writers starting a new project, why is understanding their story’s theme crucial? Can it evolve as the story develops?
Possibly slightly controversial, but I’d disagree with the question. What is important when starting a project are the characters and the plot, and everything else falls into place after that. The theme should come out of what you write, rather than trying to fit the writing around it. For me, approaching a novel by beginning with a theme feels like the wrong way around.
Outlines can provide a helpful guide when writing, but stories often take unexpected turns. What are some of the signs that it’s time to deviate from the original plan, and how should writers approach these changes?
As I say, I don’t outline too heavily in my writing. That’s partly because I like the freedom to discover the story as I write, but it also allows for the narrative to change as you write it. I’d say that the key to a lot of plotting is character – as long as the change fits into their progression as a character, then go for it.
What’s your favorite piece of advice for writers looking to finish their first draft, especially those feeling stuck midway?
Don’t go back! It’s so tempting to rewrite but that leads to an endless loop of trying to get things perfect. You’re in a much better place having a full draft to work with as you can see the bigger picture at that point. The midway point can be hard – it’s a bit like being at sea when the wind drops. But the wind will pick up again – you’ve just got to keep going and you’ll see land eventually!
You’ve created a 3-month novel-writing course for Reedsy. Can you walk us through how the course is structured and what makes it unique?
The course is 101 days in length, with a daily video lesson every Monday to Friday and a panel of authors each weekend. The weeks are themed around different writing topics to guide you through the process of writing. We want you to get to the end of the draft by the end of the course. Think of it as Masterclass meets NaNoWriMo!
Who would benefit most from this course? Is it suitable for beginners, or can it also help more experienced writers looking to develop their writing skills?
The course is suited to anyone wanting to write – and get the support to write – the first draft of their novel. It works best when you come to the course with some idea of what you want to write; coming without an idea, you might struggle to begin with. I’ve tried to calibrate the teaching so you’ll learn something new whatever level you’re at. We have lots of first-time writers, but many experienced ones too – some who are published authors who want group support, others who have done MFAs or written non-fiction books in the past.
For writers planning to write a novel this year, what advice would you give to help them stay motivated and on track?
Keep writing. That sounds a banal thing to say, but even if you can only carve out thirty minutes a day, you’ll be surprised how those words add up. Give yourself a target but don’t beat yourself up if you get behind. You’ll have good days and bad days, so roll with the punches. Finding a support network can help – whether fellow writers on a course or a local writing group, their encouragement and feedback can prove invaluable in getting over the line. Good luck!
Conclusion
Registrations are now open for Tom’s novel-writing course, How to Write a Novel, which starts on March 3rd. If you’d like a sneak peek of the course, create an account to get a free lesson on creating compelling characters.