emoti-con

Yusif is a talented writer. He’s completed one novel. He’s several drafts into another novel and has two more in the works.

I know Yusif personally. I’ve read his work. We’ve brainstormed together often. He’s creative and his ideas are truly unique, never derivative. What’s more, I’m certain that Yusif’s stories have mass-market appeal.

I was hanging out with Yusif at a museum one day two summers ago. He was looking at a blurry, black-and-white photo from the early 1920s, depicting a nondescript teacher and her students standing outside a one-room schoolhouse in the Florida Everglades when, out of the blue, he spun around and announced, “I want to write a story about this!” Before the day was out, he had completed a full chapter outline for what would be a middle-grade novel. And over the next two weeks, if memory serves me correctly, he was writing a chapter a day.

Upon completing each chapter, Yusif would read it aloud to me, sometimes in person and sometimes over the phone. His descriptions were masterful without being overwrought. I cared about his characters. His dialog was fresh and authentic.

He was passionate about researching details. He read every book he could get his hands on about the early settlement of the Everglades: the people, their background, customs, housing, transportation, religion, food, relationships with the Native Americans of the area. We made several more trips to area museums, churches, schools and Everglade City itself. We walked together through the actual setting of his story, studying the buildings, the photos on the walls. Eating alligator.

Within a year, the novel was completely written, thoroughly edited and ready to be submitted.

It was an exciting time.

Except when it wasn’t.

You see, there were many, many days during that year when Yusif read his work… and hated it.

The enthusiasm and positive attitude with which he went into querying the manuscript fizzled. As sure as he’d ever been that this book could fly—maybe even become a favorite book for many readers—he was now equally convinced that no agent would want the book. That readers wouldn’t get through chapter one without putting it down, never to pick it up again.

“Be honest with me. It’s awful isn’t it? No one’s going to want to read this,” he moped.

How is it that the very same story and ideas that had thrilled him now felt lackluster? That the characters he’d grown to love—that he’d brought into being, and rooted for and cried over—now seemed like cardboard cutouts? And that the same configurations of words that he’d painstakingly crafted and tweaked, and which he’d read aloud to me with pride only weeks earlier, now sounded bland and trite, even embarrassingly bad?

To quote the Bee Gees:

It’s just emotion that’s taken me over
Tied up in sorrow, lost in my soul

Interestingly enough, while Yusif was working on his second novel (with all of the wide-eyed wonder and hope with which he’d begun the first), we watched a video series where prolific author Judy Blume talks about her process. Her unassuming nature, candor and vulnerability struck me. Here was one of the all-time bestselling children’s writers, whose books have sold over 82 million copies and earned her more than 90 literary awards (including three lifetime achievement awards) saying, “So often, I’ve…

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