Interview With Author Tyler Gilmore
Tell us about yourself and how many books you have written.
I’m an independent author and the founder of Tyler’s Literary Workshop, a small creative studio focused on deliberate, story-first writing. I’ve always been drawn to stories that feel immersive—where the reader isn’t just observing the world, but stepping into it and becoming part of what unfolds.
So far, I’ve written one published novel, The Unopened Tome, which is the beginning of a larger series I’m continuing to develop. The project itself is something I’m building carefully over time, with a focus on atmosphere, character, and the idea that a story can feel alive in the hands of the reader.
For me, writing isn’t about rushing out books—it’s about crafting something that stays with people after they’ve closed the final page.
What is the name of your latest book and what inspired it?
My latest book is The Unopened Tome.
The idea started with a simple question: what if a book didn’t just tell a story—but responded to the person reading it? I’ve always been fascinated by the moment when a reader gets completely pulled into a world, where everything else fades away. I wanted to take that feeling a step further and build a story where that connection becomes real—where the line between reader and story begins to disappear.
From there, the concept evolved into a “living narrative,” something that shifts with emotion, choice, and perspective. The setting, the characters, and especially the mysterious tome itself all grew out of that core idea. It became less about a traditional fantasy world and more about the experience of stepping into something unknown… and realizing it might be stepping into you as well.
That tension—between curiosity and consequence—is really what inspired the book and continues to drive the series forward.
Do you have any unusual writing habits?
I wouldn’t say unusual—but definitely intentional. I don’t write straight through a story from beginning to end. Instead, I build scenes almost like moments in a film—focusing on atmosphere, emotion, and how each piece feels before I worry about connecting everything together.
I also tend to step away from the page more than most writers might. A lot of the story is worked out mentally—walking through scenes, replaying dialogue, and testing how a moment lands before I ever write it down. By the time it hits the page, I already know how it should move.
Another habit is that I don’t rush the process. With The Unopened Tome, I approached it less like finishing a book and more like building something that lasts. That means revisiting sections, refining tone, and making sure each moment earns its place.
It may not be the fastest way to write—but it’s the way that keeps the story feeling alive.
What authors, or books have influenced you?
I’ve always been drawn to authors who create worlds that feel immersive and a little mysterious—where the story has layers beneath what’s immediately visible. Writers like Neil Gaiman and Patrick Rothfuss have had a big influence on me in that sense. Their work doesn’t just tell a story—it builds atmosphere and leaves space for the reader to feel like they’ve stepped into something deeper.
Books like The Name of the Wind and American Gods stood out to me because of how they balance character, worldbuilding, and tone without rushing the experience.
I’m also inspired by stories that treat the act of reading itself as something powerful—where the connection between the reader and the story matters. That idea played a big role in shaping The Unopened Tome, especially the concept of a narrative that feels alive and responsive.
More than anything, I’m influenced by authors who take their time and trust the reader—stories that stay with you, not because they’re loud, but because they linger.
What are you working on now?
Right now, I’m continuing to develop the next entries in the series that began with The Unopened Tome. The focus is on expanding the world and going deeper into the idea of a “living story”—where the narrative doesn’t just unfold, but responds to the characters and the choices they make.
I’m also refining the larger arc of the series to make sure each book stands on its own while still contributing to something bigger. That means a lot of time is spent on structure, tone, and making sure the progression feels intentional rather than rushed.
Alongside the writing itself, I’m building out Tyler’s Literary Workshop as a creative space—developing how the stories are presented, how readers engage with them, and how the overall experience can feel more immersive beyond just the page.
It’s very much an ongoing process, but everything is moving toward creating a series that grows in depth and impact with each installment.
What is your best method or website when it comes to promoting your books?
I’m still refining that process, but right now my primary focus is short-form video—especially platforms like TikTok. It’s one of the few places where you can put an idea in front of people quickly and learn what actually captures attention.
That said, I’ve learned it’s not about just promoting a book—it’s about creating curiosity. Instead of saying “here’s my book,” I try to present a moment, a question, or a feeling that makes someone pause and want to know more. When that works, it naturally leads them to explore The Unopened Tome on their own.
I also use my website, TLWS.ink, as a central hub where readers can go deeper—whether that’s learning about the story, joining the newsletter, or getting a preview chapter. The goal is to build a path: capture attention first, then give people a place to continue the experience.
It’s still evolving, but I’m focusing on methods that feel intentional and sustainable rather than just chasing quick spikes in visibility.
Do you have any advice for new authors?
Focus on finishing something real before worrying about how it will be received. It’s easy to get caught up in trends, marketing, or what you think readers want—but none of that matters if the story itself isn’t fully realized.
Take your time with the craft. Learn how to build atmosphere, develop characters, and create moments that actually stay with people. A single well-crafted book will carry more weight than several rushed ones.
Also, understand that writing and promoting are two very different skills. Finishing a book is one challenge—getting it in front of readers is another. Be prepared to learn both, and don’t get discouraged when one feels harder than the other.
Most importantly, write something that feels honest to you. With The Unopened Tome, I didn’t try to follow a formula—I focused on building a story that felt intentional and immersive. That’s what gives your work a chance to stand out over time.
It’s a long game. The goal isn’t just to publish—it’s to create something that lasts.
What is the best advice you have ever heard?
The best advice I’ve ever heard is simple: finish what you start.
It sounds obvious, but it’s surprisingly rare. A lot of people begin stories, ideas, or projects—but very few carry them all the way through to completion. Finishing forces you to solve problems, make decisions, and face the reality of your work instead of just imagining it.
That mindset shaped how I approached The Unopened Tome. There were moments where it would’ve been easier to keep refining ideas or starting something new, but completing the story—giving it a true ending—was what turned it into something real.
Once you finish something, you’re no longer just someone with ideas—you’re someone who has built something. And that changes everything moving forward.
What are you reading now?
Right now, I tend to read a mix of fantasy and atmospheric fiction—stories that focus more on tone and immersion than just fast-paced plot. I often revisit authors like Neil Gaiman and Patrick Rothfuss, not just for the story itself, but to study how they build mood and presence on the page.
I also spend time reading outside of my genre—things like creative theory, storytelling structure, and even visual mediums—because a lot of inspiration comes from how different forms handle pacing and emotion.
Reading, for me, isn’t just entertainment—it’s part of the process. It helps me stay aware of how stories evolve and keeps me grounded while I continue developing the series that began with The Unopened Tome.
What’s next for you as a writer?
Next for me is continuing to build out the series that began with The Unopened Tome, with a focus on deepening both the world and the core idea of a “living story.” Each new installment is designed to expand that concept—pushing the boundaries of how the narrative responds to character, choice, and consequence.
At the same time, I’m working on strengthening the foundation around the books themselves—refining the reader experience, growing a dedicated audience, and developing Tyler’s Literary Workshop into something that supports long-form, immersive storytelling in a meaningful way.
Long term, the goal isn’t just to release more books—it’s to build a complete body of work that feels intentional from beginning to end. Something readers can step into, stay with, and come back to over time.
If you were going to be stranded on a desert island and allowed to take 3 or 4 books with you what books would you bring?
If I had to choose, I’d bring a small mix—something for inspiration, something for depth, and something I could return to over and over again.
The Name of the Wind would definitely be one. It’s the kind of story you can reread and still find new layers each time. I’d also bring American Gods for its atmosphere and the way it blends the ordinary with something much larger and more mysterious.
For something more grounded in craft, I’d probably include a book on storytelling or writing theory—something that keeps the creative mind active even in isolation.
And honestly, I’d bring a blank journal. Not technically a book in the traditional sense, but if you’re stranded long enough, you’re going to need somewhere for new stories to go.
Because at that point, you’re not just reading anymore—you’re creating.
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