Podcast appearances and mentions of tom avery

Welcome to the Art Life Faith Podcast, and I’m your host, Roger Lowther. We are recording live from the JCAMM conference in downtown Tokyo with the theme of “The Beauty of Japan・The Beauty of Heaven.” It’s a week-long conference from Friday, May 22 to Wednesday, May 27, 2026, where we are talking about the arts of Japan, the beauty of Japan, and how that helps us worship God. We’ve had so many amazing guests this week, and now I have the privilege of sitting down with one of our key presenters, a band like no other I’ve ever seen in the world called IziBongo. They sing not only in the various languages of the world, but they use the various instruments of the world and the various styles and genres of the world so people can see what it looks like for the nations to praise God and how that can lead us all in praise of God. So I wanted to sit down with them and have a conversation. I’ve also asked Akira Mori to sit down with us. He is our MC for the conference, and he’s a longtime friend and partner. We got to know each other very well through the 2011 earthquake, tsunami, and nuclear disaster. He’s the pastor of Global Mission Chapel in Iwaki, Japan, not too far south of the nuclear power plants in Fukushima. And his amazing church was one of the key centers for relief work for all of Tohoku. Through the years, we’ve gotten to know each other better, and I’ve so appreciated not just his encouragement and the way he leads especially movements of prayer in Japan but the way he’s encouraged me personally and for his friendship. And so I invited him to be the MC for this conference and also to be with us for this podcast episode. So thank you, all of you, for being here. Why don’t we start with a quick introduction? Please tell me who are you and where this name IziBongo came from. It’s kind of an interesting name. Cory Sure, Izibongo is a Zulu word which means praises intoned in honor of a person. It’s a kind of praise poetry. This is a second generation of the group itself, originally called the Wycliffe World Music Band, which came from Wycliffe Bible Translators. Roger Not as catchy… Cory Yeah…, which came from Wycliffe Bible Translators. Roger Okay, so what do you do? Why did you form IziBongo? Cory Originally, the Wycliffe World Music Band was meant to be an illustrative form of the music of the world and to promote Bible translation. That was one of the hopes for the people who organized it. We would go to Christian music festivals and perform there to show how the nations would worship or do their songs. Paul I might add that originally it was an ad hoc group of students in a particular class learning about some of these principles of music and worship around the world. The leader of that class was our mentor, Tom Avery. He would gather the students and throw instruments at them and say, “Sing this and let’s play this.” And so it was just to appreciate the worship around the world. This developed out of that educational starting point to more of a worship focus and whatever it is today. Cathy Another point that Tom would make when teaching us these songs was that music is not a universal language, it’s a universal phenomenon. But different peoples have different ways of singing. We think we might understand what they’re singing about. We might make a judgment if we hear another culture’s music and say, “That’s demonic,” or, “You could not praise God with that music.” But he was teaching us that we need to understand when we go into cultures their music systems. We can’t just go in and say, “No, you have to sing it this way.” Mary And to follow up on that is the focus of outsider-insider, an outsider trying to understand from the insiders, “What does this mean to you? What is the content?” because as outsiders, we can really miss it and not understand what’s actually being expressed. So we have terms. We say etic and emic, outsider/insider perspectives, that we talk about in our courses and our learning. Roger Help us to see what this looks like a little bit more concretely. What countries, what groups are you representing, and what kinds of instruments are you playing? Paul Well, I’m playing about 3 or 4 instruments here. One is a charango from Bolivia, which I bought on the River Walk in San Antonio from a real live player. I’m also playing a Moroccan oud, which we use for other instruments as well. We don’t carry 50 instruments, we carry about 10. And I’m playing a Greek bouzouki, but I’m using that to represent music from other parts of the world as well if the instrument sounds similar to the sounds. So again, we’re approximating all these. We’re never being exactly authentic. We are just Americans. We’re not trying to pretend that we’re something else. But we love the sounds of the world and the praises that they lift up. So we want to approximate those sounds so that you will learn to appreciate their music. As for the countries that we actually sing songs from, we could give a list if you’d like. Cory We do some from South America, so there’s Brazil, Venezuela, Bolivia…Ghana, Democratic Republic of Congo… Cathy Nigeria… Cory Egypt… Paul Tunisia, Papua New Guinea, Bhutan, South Korea…We don’t have a Japanese song yet. Roger Okay, well, we’ll have to fix that. Paul Exactly! We’re working on it. Roger So tell me more about why you do this. What is your purpose in singing these different styles—using different instruments, different languages, representing different countries? Paul Well, for myself, and I think for my wife as well, we were worship leaders in a local church and trying to find the most relevant ways to help people worship in our culture. It was mostly not a mixed culture. It was mostly just a normal American church in Texas, but still we had to wrestle with contemporary versus older styles and who was there and what kind of music they liked. In the South it’s a little more Baptist hymnal kind of songs, which I wasn’t that familiar with. So you always have to learn and find out from the congregation that you’re worshiping with, what helps them express their heart, because that’s really what a worship leader is trying to do, just help the people worship from their heart. So that was where we started, and when we ran into Tom and he was doing that in the jungles of Brazil, it sounded radically different, of course. So we learned from him how to approximate that sound so that we could present it. Cathy So the first time we performed this kind of music, we thought we were just going to give people an educational experience and say, this is what your brothers and sisters sound like over in Africa, or this is what they say to God in their songs. The people that heard us in Memphis, Tennessee, on that very first trip were crying. They said, “This is a kind of worship that we’ve never experienced before.” It wasn’t necessarily something they could participate in, but it was like when you look up at the stars and go, “Wow, God, that’s amazing.” And you get a glimpse of the worship that God is preparing for himself across the world. And it does increase your love for your brothers and sisters. So we wanted to give more people that kind of understanding and that kind of love for brothers and sisters that they’ve never met, maybe an experience that would have them want to pray for those brothers and sisters. And so when we go to a mission conference, we hope, too, that it opens people’s eyes to understand that we want to encourage authentic ethnic worship and not just press our Western songs onto others. Mary I was just going to say one word, beauty. Well, I’ll say a few more words than just that. We have a colleague who decades ago said, why would God have created birds that only sing one song? And so we think about the diversity of artistic communication and think about the beauty of how we can all be different and have different artistic expression, but that it can be unified in the worship of our Creator, and to learn to appreciate that, but also know that it’s perfectly great to have those styles and songs and ways that you can sing and worship that come really from a deep place in your heart. So, we want to get into what that is in each culture to lead people to that place of beauty. Paul It makes me think also the necessity that we feel of presenting things with authentic instrumentation as much as possible and with some costuming. It’s not like we’re not trying to appropriate someone else’s culture. We’re trying to represent so that you will have a deeper appreciation of those—the beauty, not just the sound, but the beauty of those cultures in their expression of worship. Roger I’m glad you all are talking about this because that was one of my next questions is like, why is this important? You know, when I first came to Japan, the first thing that people wanted me and my wife to do is, as musicians, help with worship. And there’s basically two choices you can do. Contemporary or you can do traditional. One or the other. If you play organ and piano, well that’s traditional. If you use the guitar, well then that’s going to be contemporary. Those are the only two choices, so choose. If you go back and forth between the two, then that’s blended, a little of both. So to hear what you all do is so far outside people’s expectations of what worship can be. And that message, I feel, is especially needed in Japan. I would love Mori-Sensei to comment on that. Have you heard anything like this in Japan, this group? Mori No. That’s it. Roger And is it important then for Japan? Mori Absolutely. Japanese people like to feel safe, I guess, and don’t want to be criticized. Therefore, they try to conform to whatever is the mainstream, whether it’s a small group of 3, 4, 5 or a bigger group of 50–100. But that’s what I sense, and that’s what I find in myself from the past. So, especially when you think about the Christian church. The gospel was brought by typically Caucasian Western missionaries, and I don’t think they had any other way than to just do what they were used to. And without being intentional, I believe a kind of very clear line between Christians and non-Christian Japanese was drawn. When I was a teenager and a church member, the pastor said secular songs shouldn’t be sung, not even for yourself when you’re alone. So there was a very clear line, and I think in every church it was the same. And if you dare to play jazz or, rock was not so much in Japan in those days, then you were looked at as unspiritual, not a good Christian. So naturally, for those reasons, the Japanese ethnic or original music was separated from the church. It is still very much the same, I think. Therefore, it’s very difficult to take different styles of music and even ethnic music into the church. We don’t have any group like IziBongo. I don’t know if any other countries do either, but it is great riches brought to the church. Roger You know, when I first came to Japan, I was in language school that first year. We made friends with a clarinetist, and she was feeling turmoil about being in the church because the church told her she couldn’t play. She was a professional clarinet player, but they would not allow her to play clarinet in church because that was not appropriate for Christian worship. But, they said, you can play the piano because we need someone to play the piano. She was like, but I’m not a keyboardist and don’t play the piano very well, and it was hard for her to worship while playing the piano. When we came in, they asked us as missionaries to come give a concert, and we invited her to join us. There were tears in her eyes because that was the first time anyone in the church had ever heard her play the clarinet, which was her heart language. And I was like, wow, well, maybe it’s just this church. Well, then we went and were helping to plant another church out in Chiba, where we met a pastor whose son played the saxophone. And it was the same story. He invited his son to play saxophone once in worship, and the church members got so upset. Saxophone is not appropriate for worship, they said. It sounds worldly. It sounds like jazz, you know. And we’ve come across stories like that over and over again. And I want to tell you one more. Sorry I’m talking so much! But there’s this other story when we met this koto player. She was featured in one of our videos during the conference. I think I’ve shared this in a past podcast episode, but we invited her to come and play koto in worship. That’s a traditional Japanese harp, and it was so beautiful. We loved it, but there were so many people upset afterwards. And there were so many meetings afterwards, not the kind of meetings that you really want to have happen, you know, like with the pastor and the elders. Okay, this person’s upset, and they felt like it was connecting to the non-Christian culture in Japan. They said, “You can’t use the koto in worship. You were distracting me from worship. I was not able to worship God because you had the koto there.” And, you know, the way—I’ve shared this with some of you before—the way that we were able to bring healing to that situation is when they realized how she was able to worship God through her heart language, through the koto, it drew them in and they were able to worship God by seeing how she was worshiping God. It wasn’t a gimmick, you know, it wasn’t like we’re trying to force something on the church, but that this is how she worshiped, and they were able to worship through her. It was that relational key that made all the difference. Mori Um, can I ask you a question? Roger Sure. Mori That was your experience in the beginning. Is that still very much the same in the Japanese churches? Roger I do sometimes continue to hear stories, yeah… Mori This is my subjective, biased opinion, but around 20 years ago, God raised a young man and gave him song after song. An authentic Japanese young man, producing Japanese praise songs, worship songs, and they did some gatherings using yukatas and guitars on the stage, dancing and singing. And those worship songs created by those people, they have quite rapidly spread all across Japan. Roger Oh, wow. I’d like to hear them. Mori Yes. Oh, you know him. Taka. His songs, I believe, have changed the atmosphere of Japanese churches. Nagasawa Takafumi wrote that famous song, “Sono Hi Zen Sekai Ga” (“On That Day”). He started out as a worship leader in his father’s church. Now, he’s the senior pastor. But he was invited as a worship leader to a church in a different place, totally different place, and the pastor, as the congregation sang that song, proudly said to Taka, “Don’t you think this is an awesome song?” He didn’t know that Taka wrote that song, and Taka did not tell him. But today, more instruments are naturally taken into church services. Different styles are tolerated. Not every church, but, by and large, so many churches are resembling Western American churches, worship band in front and leading songs with guitars and drums and bass guitars and keyboard. And it’s spreading. And I just think that change has been happening. But still though, not Japanese authentic instruments or styles. Roger Yeah, that's still pretty rare. Mori Yeah, because of the schism that happened, right in the beginning, the Christians somehow feel that those instruments are not theirs. And to me, that’s okay if Christians don’t play any koto or shakuhachi. Of course, they’re greatly considered by Christians to be a special genre of instrument. Roger Generally. Yeah, Cathy? Cathy That’s one thing that seems to happen when we play. We had an experience in Singapore. A Japanese gal came up and talked to me afterwards and said, “This makes me want to go home and find what is unique from my culture that I can offer to God. It makes me want to go home and find or make something unique from my culture. And so, I think that IziBongo sometimes has that effect when we show what other cultures are doing. Roger Yeah, I also wanted to ask you all, I know that like sometimes I hear this word “appropriation” in the States, because you are not from those cultures, because you are Americans doing that music. If someone was to come at you and say, “Hey, that’s not appropriate for you to be doing that,” how would you respond to them? Paul Well, it depends who it’s coming from, I think, is where we start. We have never had anyone come to us from those nations with a problem with us. In fact, all we’ve ever heard is appreciation that we at least attempted to sing in their language. And again, we don’t do it perfectly. We had one experience up at Prairie Bible College where we played a First Nations song, a Native American song, and there was one young gentleman there who was a young man from the First Nations, and he was so excited. He wanted to sing the song. It was very simple, so he wanted to lead it. It was so amazing to him that he could do that. And almost immediately, we got strong pushback from a missionary couple who’d been there for 30 years working with First Nations peoples who felt like that was very inappropriate for the church. So let me say it this way: What we do is not try to impose on the church what you should do. What we’re doing is saying praise is happening all over the world, not always on Sunday morning. In fact, most of this wouldn’t be in Sunday morning worship, but it’s worship. Some of it’s on the streets of Brazil, a samba. And it was a Christian song sung on the streets of Carnaval. I mean, that’s not Sunday morning. So again, what we’re presenting is just the various expressions of praise. Whether they fit on Sunday morning in the church, your pastor and your worship leaders need to work that out. And we shouldn’t be judging them. They’re the ones who are to guide and guard the flock. So pray for your pastors that they might have vision even when they have reservations. Cathy I would say it’s also not only praise, but Scripture memory songs, storytelling, telling of Bible stories, and historical things. So there are other ways to use the music. Cory And the use of the music that we do when we perform are based on relationships that we have with the communities themselves, either through a Bible translation project or actual one-on-one. So, we have gotten permission to do these songs according to the communities that we’ve come in contact with. Mary And I’ll say that coming back to the U.S. from West Africa and starting to hear this word appropriation, I was a little bit shocked because I was like, oh, what does that mean? You know, I had to say, what does that actually mean? Because to be in West Africa or in that particular culture, you dress with the cloth and you learn their songs and they are thrilled that you are learning their language and wearing their clothes. So appropriation is not about using these things for our own benefit, but it’s about lifting up and respecting that culture. Roger We are almost out of time, but I want to give Mori Sensei the last word. So, think about what you’re going to say. Let me just say that I’ve been moved by talking with all of you, you know, outside this interview, the stories you’ve told me about how people respond saying, wow, I had no idea I could worship God in that way through my culture, through my art, and how it’s encouraging them, empowering them really. You are empowering the nations to say, God has given you these gifts to worship him, and it’s just such an important message. Thank you so much for the time and money you’ve spent to come all the way to Japan to share this with us. We really appreciate it. Mori Sensei, do you have any final comments? Mori Well, thank you very much. I’m so honored. Change is happening in the Japanese churches. It’s not only negative. In one church, 45 minutes away from Tokyo, they started using enka. Enka is very secular, many love songs. They were the songs church members' husbands especially loved. So they invited the husbands and did a couples' night. They served beer and they sang enka. And the people loved it. Actually, the wives loved it too. So, some changes are happening. Also, Japanese instruments—koto, shakuhachi, shamisen—are not widely used in the churches. I think that’s because nowadays Japanese people have grown up without those instruments nearby. But those who have, they should be invited to the churches to perform and make them feel at home. Still, the Japanese churches are very much under the control of pastors. So these gatherings would be excellent for the Japanese pastors to know and come attend, listen to, hear the stories. That’s probably the challenge for the near future. Roger Thank you. Thank you so much, all of you. I really appreciate it. God bless you. You've been listening to the Art Life Faith Podcast. To watch the video of this podcast or many other videos from the conference, please go to our website: www.communityarts.jp. As we say in Japan, “Ja, mata ne.” We'll see you next time.

In this podcast episode, Dennis interviews Tom Avery, a surgeon who worked in Myanmar with the Free Burma Rangers. Tom shares his experience providing critical care in a war-torn area and the challenges he faced. He discusses the importance of stabilizing patients and bridging the gap between the frontline and higher echelons of care. Tom emphasizes the need for flexibility and creativity in an austere environment and the importance of communication and cooperation with local forces. He also highlights the lessons learned, including the need for in-field sterilization, the value of a mobile ultrasound device, and the importance of a standardized trauma kit. Takeaways Stabilizing patients and bridging the gap between the frontline and higher echelons of care is crucial in a war-torn area. Flexibility and creativity are essential in an austere environment. Communication and cooperation with local forces are key to success. In-field sterilization and cleaning of medical instruments are important considerations. Having a mobile ultrasound device and a standardized trauma kit can greatly enhance patient care. Thank you to Delta Development Team for in part, sponsoring this podcast. ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠deltadevteam.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ For more content go to ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠www.prolongedfieldcare.org⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠ Consider supporting us: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠patreon.com/ProlongedFieldCareCollective⁠⁠⁠⁠⁠⁠ or ⁠⁠⁠⁠⁠⁠www.lobocoffeeco.com/product-page/prolonged-field-care⁠

Tom Avery is a lifetime athlete, tennis coach and sports nutritionist.His interest in health started at the age of 32. He read every book on alternative health care and diet he could get his hands on. Although he made some improvements to his health, for years he felt that something was missing. It wasn't till the age of 58 that Tom realized, after much research, that a vegan diet is the one we're designed for and the most optimal.Currently, at age 74, he still teaches and plays tennis, works out 5 days per week and is active in sprint triathlons. He also teaches all his tennis students and the general public of the benefits of adhering to a vegan lifestyle through his website FruitNSport.com and his raw vegan lifestyle plan, outlined in “The Transitional Vegan 30 LOVE Diet” and “The Totally Raw Vegan 30 Love Diet'. He is living proof that eating whole, fresh, ripe, raw, organic food is the nutritional way to vibrant health and vitality.Learn more about UK Fruitfest: info@fruitfest.co.ukLearn more about a raw vegan lifestyle at UK Fruitfest, one of the world's best event for the raw vegan community: http://fruitfest.co.ukSubscribe to the Love Fruit Newsletter and receive the 21 Days Of Raw Inspiration email series: https://mailchi.mp/fruitfest/newsletter

Tony Chats with Tom Avery, Founder & CEO at Signal Sync, an insurance agency automation solution focused on small independent agencies with one location. Doing both AMS and CRM, and especially Agency Automation to help your independent agency be much more efficient. They have a strong focus on Benefits agencies.Tom Avery: https://www.linkedin.com/in/tomkavery/Signal Sync: https://signal-sync.com/Video Version: https://youtu.be/t_biN8krrAk

Everyone is busy on their own missions this week! Caroline and Enzo are tracking down the only remaining Stefan doppelgänger, Tom Avery, in Atlanta, who someone else unfortunately tracked down first. Elena and Damon are at Jeremy's parent teacher conference, and of course make it all about their "breakup". Liv and Luke are done keeping secrets, but fail to kill the one person they plan to and then pick a... less than ideal team. Despite Caroline's best efforts, the travelers get the power they need for a spell, which ends with a whole lot of fire and a mysterious figure appearing in a painful experience for Bonnie. Plus, Caroline and Stefan CUDDLE!!! Remember to rate, review, and share, brothers! Follow us on Instagram @doppelgangerspodcast! --- Support this podcast: https://podcasters.spotify.com/pod/show/doppelgangerspodcast/support

This week on the Penguin Podcast, we break down the publishing process.Host Leena Norms is joined by Penguin author, Derek Owusu, his agent Crystal Mahey-Morgan and editor Tom Avery.With Derek's debut novel as the anchor, they break down the process of finding an agent, acquiring a book, editing, and everything in between.Don't forget to follow the show so you never miss an episode, and do leave us a review as it really does help. To find out more about the #PenguinPodcast, visit https://www.penguin.co.uk/podcasts.html. Hosted on Acast. See acast.com/privacy for more information.

Derek Owusu's debut novel was the first fiction to be published by Stormzy's fledgling imprint #Merky Books and went on to win the Desmond Elliot Prize in 2020. In this episode we hear from Derek about the mental health crisis that first encouraged him to put pen to paper, from his editor Tom Avery about changing the mainstream and from chair of judges Preti Taneja, herself a previous winner of the prize, about why this book is so special. Featuring: Derek Owusu, Tom Avery, Preti Taneja

It was an absolute pleasure speaking with Tom Avery. Tom has been married to his wife and best friend for nearly thirty years and through life has learned the importance of a strong partnership and close relationships.  Together we discuss marriage, parenting daughters, and opening up to others about life's struggles, as well as the […] The post The Power of Vulnerability in Men first appeared on Ryan James Miller.

Ned welcomes Tom Avery, Founder, President, CEO at Innovative Broker Services and Founder, CEO at Signal Sync. Tom shares how brokers can innovate their process to provide each client a personalized experience and customizable options. ---------------------------------------------- Hunter! Is the Automated Sales Assistant for Benefits Brokers. Go to agencyleverage.com/pipeline to see how Hunter can work for you.

With plans to embark on their own Camino pilgrimage in 2024, Steph and Andrea review The Way (2010) and how it resonates with them, the parallels it draws to real-life travel adventures and the overarching theme of how travel fundamentally changes us.In The Way, when Daniel Avery (played by Emilio Estevez) dies on pilgrimage of the Camino de Santiago, his father, Dr. Tom Avery (played by Martin Sheen) flies to France to claim the remains. Despite having been estranged, Tom decides to complete the 825-kilometre trek to Spain to honour his son, spreading his ashes along the way.The Way (2010) is available on Amazon, Netflix and SBS (country dependent) and is available for rent/purchase on the Apple TV app.Like what you heard? Please subscribe, leave a 5-star review, follow us on social media and/or become a Patreon donor. Every little bit helps us grow!- Click here for our Patreon- Click here to like us on Facebook- Click here to follow us on Twitter- Click here to follow us on InstagramTheme music by Scott Buckley Support this show http://supporter.acast.com/allthestivelearnedabroad. See acast.com/privacy for privacy and opt-out information.

Connect with Tom: https://www.linkedin.com/in/tomkavery/Connect with Steve: https://www.linkedin.com/in/steve-watson-cpa/*************************Are your employees okay with another year of insurance rate increases?Visit Trendbreakers.com to find out more about how I was able to lower the cost of benefits by 1k/employee which allows us to invest those savings back into the company and the employees.

Tom Avery continues our journey through the book 'Gracism' by Dr David Anderson

Tom Avery has always been infatuated by snow – be that getting up a mountain, skiing down the other side, driving dog teams through the snow, or using ice axes and crampons to climb up a snowy peak. Support the show (https://www.buymeacoffee.com/actionpacked)

With a string of Indigenous surf titles under his belt and a regular on the Australiaan ASP/WSL LQS, Tom is comfortable surfing and competing in 1 ft ankle biters to giant Hawaiian size power waves. His father (Tom Avery) is a renowned Indigenous artist and surfer. His mother (Jennifer Avery) a talented singer/guitarist and full blood Maori from the Taranaki Province of New Zealand. It has led Tom Jnr to follow a pathway of surfing and music, performing as Blakboi. Tom is from the Gomeroi peoples of central NSW now living on the Bundjalung Nation around the Byron Bay / Lismore area. 

Tom Avery finishes our Covenant People series going through the book of Acts

Tom Avery continues our Good to Grow series

Tom Avery continues our series on "Worship and War"

Tom Avery continues our series on 'The Church Is'

Tom Avery kicks off our Passion Week series

Tom Avery continues of Song of Songs series

BONUS EPISODE: What a better way to end National Novel Writing Month, than to collaborate with Penguin Random House UK and WriteNow! Today we have an exciting episode in collaboration with Penguin Random House UK and #WriteNowLive. WriteNow aims to find, mentor and publish new writers from under-represented communities. WriteNow was created by Penguin Random House in 2016 to help ensure books and publishing better reflect UK society. It aims to find unpublished voices that are currently under-represented in books across all genres, including Fiction, Non-Fiction and Children’s. This includes writers from a socio-economically marginalised background, LGBTQ (Lesbian, Gay, Bisexual, Trans, Queer) or BAME (Black, Asian, Minority Ethnic) writers, or writers with a disability. Mostly Lit joined Penguin Random House UK at WriteNow London to find out more. Have a listen to writers Elif Shafak (@Elif_Safak) author of Three Daughters of Eve and Mahsuda Snaith (@mahsudasnaith) author of The Things We Thought We Knew about what it means to be published writers and novelists. Mostly Lit also speak to 2017 mentees Reeta Loi (@r_e_e_t_a_ )and Iqbaal Hussein who are unpublished writers as they talk about their experiences with writing, editing and at WriteNow. The trio also talks to former mentee from WriteNow 2016, Charlene Allcott (Twitter @moderatemum) who has recently had her novel bought by Transworld, about her writing process. And finally, William Heinemann editor Tom Avery talks about the editing process. Have a look at the website here: www.penguinrandomhouse.co.uk/writenow @PenguinRHUK Don't forget to tweet us your thoughts on the books and film! Rate and review us on iTunes, Soundcloud and YouTube! Follow us on: Twitter - @mostlylit Instagram - @mostlylitpod YouTube - www.youtube.com/channel/UCNSap_m48BXPUViJofbUYCQ Email - mostlylit@gmail.com See acast.com/privacy for privacy and opt-out information.

Tom speaks on Psalm 103 // God as he is meets us as we are.

Tom's Preach on happiness, fulfilment and Psalm 1.

Tom Avery speaks at our Sunday service