The stars were aligned. When Lana Nasser approached me more than a year ago, telling me that she has set up her own studio and is looking to do more voice over projects, I knew I want her voice on Ebra wa Kushtuban. I met Lana 12 years ago. She was teaching acting in a special workshop at the Royal Film Commission. I wanted to learn how to act. I dreaded standing in front of a camera for casting but I gathered my courage and showed up. Lana was there, observing and directing the candidates. I think they gave me few lines to act, but then she asked me to choose a character and come up with a monologue. I don’t know why I chose Salma from The Bride of Amman. I spoke in her voice. I talked about her struggle. I felt her pain. My voice became weaker and I felt tears in my eyes. I was accepted in the workshop!
For few months Lana trained us on the principles of acting. She was always prepared. Have all the knowledge needed. And she was very patient, asking us to play the scene over and over again. She sits in silence observing till the act ends. Then she gives the right helpful remarks. During those days I became fond of the way she pulls herself. The way she speaks. Her confidence and deep mesmerizing voice. Some years later, I saw her performing, a full play, all by herself, in a corner of the Swedish Ambassador house inn Amman. And I was impressed. The voice, the narration, the acting, the plot, the moves. Lana is a TALENT. And, on another time, I was honored to be on stage next to her and another 5 beautiful ladies to narrate the stories of 7 women in a Swedish play called SEVEN.
So I asked her if she’d like to narrate Ebra wa Kushtuban, and I was thrilled that she accepted. She sent me a sample, and I loved it. As she went on recording her voice, I came to feel that she gave a life to those characters in the book. I knew that this will be a different experience. It is not your typical audio book, but more of a radio drama. A full show that will keeps you gripped, enjoying the voice as much as the story.
While Lana finished adding her voice to the chapters, I had an eye of Sowt‘s audio productions. It is a Jordanian platform that has been growing, producing quality audio content that everyone loves. I admire what they did. They have approached me before for a potential collaboration on a special podcast but that didn’t happen. I emailed Ramsey George Tesdell, CEO of Sowt, and pitched the idea to him. He replied instantly and told me that he had the idea of starting an audio books channel for Sowt in mind, and that he thinks that Ebra wa Kushtuban can be the perfect start. I was super happy.
I knew that Sowt will make sure the production will be of top quality. And they did. We have been working with them to perfecting it. They asked me to record the writer’s note in my voice. An experience that I enjoyed. They perfected the files and created a beautiful branding, and launched the book two days ago with professionally planned marketing campaign.
I can’t tell you how happy I am about the whole experience. We have a work that is the product of collaboration of Jordanian top talents. I know you will enjoy listening to it and can’t wait for your feedback. Hopefully more of this will come your way in the future.
It is always a pleasure to see a new Jordanian getting published, and it is double the pleasure when it happens to be one of the fellow old bloggers. I was first introduced to Natasha’ Tynes’s writings around 14 years ago through her blog which I enjoyed and admired back then. And, fast-forward to two years ago, I was honored to read the draft of her first novel when she approached me seeking advice on how to get it published. She didn’t need my advice, as she was determined and passionate, and proud of her work. Eventually she got it done, and successfully released last summer. A book that I enjoyed reading, and loved because it highlighted a space/time that is dear to my heart and is rarely covered in our cultural productions.
It has been a long time since I did any interview on my blog, but I am happy to chat with Natasha, and happy to present this interview that talks about her book, her experience in getting it publisher, and recommendations to aspiring writers. Hope you enjoy reading it!
Fadi: Congratulations for the release of the 2nd edition of “They Called Me Wyatt”. I remember reading the draft before you released it and enjoyed all of the nostalgic references to Amman in the 80’s. But lets hear you, tell us more about the book for the readers of this blog. What is the story all about?
Natasha: My debut novel They Called Me Wyatt is a murder mystery set between Jordan and the US, featuring Jordanian student Siwar Salaiha who is murdered on her birthday in Maryland, but her consciousness survives, finding refuge in the body of a Seattle baby boy. Stuck in this speech delayed three-year old body, Siwar tries but fails to communicate with Wyatt’s parents, instead she focuses on solving the mystery behind her murder. Eventually, her consciousness goes into a dormant state after Wyatt undergoes a major medical procedure.
Fast-forward twenty-two years. Wyatt is a well-adjusted young man with an affinity towards the Middle East and a fear of heights. While working on his graduate degree in Middle Eastern studies, Wyatt learns about Siwar’s death, which occurred twenty-five years ago. For reasons he can’t explain, he grows obsessed with Siwar and spends months investigating her death, which police at the time erroneously ruled as suicide. His investigation forces him to open a door he has kept shut all his life, a spiritual connection to an unknown entity that he frequently refused to acknowledge. His leads take him to Amman, Jordan where after talking to her friends and family members and through his special connection with the deceased, he discovers a clue that unravels the mystery of her death. Will Siwar get justice after all?
Fadi: The book has a unique concept and does a great job highlighting issues of identity and rift between East and West. How much of that was built on your own identity as a person, being a Christian Arab and living in the US? I am sure there is a big space to tackle here when one is faced with different identity agencies. It is a rich material to work on and I think you have done it nicely in the book.
Natasha: My book is loosely based on my formative years, my childhood and coming-of-age in Amman, Jordan. My identity as an Arab-American and also as a Jordanian-Christian has definitely shaped my novel since I tend to write about what I know and how I see the world. However, I tried to stay away from the topic of religion in my novel. My main focus is the Arab identity as a whole, and the challenges faced by an Arab immigrant to the US.
My book is loosely based on my formative years, my childhood and coming-of-age in Amman, Jordan.
Fadi: I like mostly about “They Called Me Wyatt” that it captures a part of Amman we rarely see in Literature. The stories of west Amman that seem to fail to find a place in local literature, as if our stories don’t worth documenting because that part of the city is “too westernized” and doesn’t fit with the overall cultural image we have for the country? I also grew up in the same period of the 80s and 90s and I have experienced much of what you mentioned in the book about the life of Siwar. Unfortunately that period of time was dominated by conservative media and didn’t leave much space for such stories to see the light. What do you to say about this?
Natasha: I agree. You rarely see literature, especially literature in English, that tackles growing up in Amman in the 80’s and the 90’s. Amman has changed dramatically since then. I feel part of me still feels nostalgic to the old Amman, to the Amman of my childhood, that’s why I based my novel around it. Life back then was simpler. We really had nothing, but we had each other, the family, the cousins, the friends, the neighbors. We spent our days playing outside, not glued to a screen like kids these days. We had adventures, we formed friendships, we learned life lessons. It was wonderful. I deeply miss it.
Fadi: I remember the time when you were looking for a publisher for your book. Being a writer myself, I know how hard it is to find a publisher who is willing to adopt your work and support it, especially when it is your first one. You approached it as it is a full time job and were pretty much determined to get it done, and I applaud you for that. There are many writers out there who are struggling to get their first work get published, tell us about your experience and what would you advise them?
Natasha: My advice for you if you want to be a writer, is that you need to develop a thick skin and be ready to be rejected hundreds of times. Buckle up. Your soul will be crushed and you will constantly doubt yourself. Remember that what makes a good writer is not only talent but also persistence, resilience and hard work. Keep applying, keep submitting your manuscript to agents and publishers. Keep getting rejections until you eventually get the acceptance that you have always dreamt about.
My advice for you if you want to be a writer, is that you need to develop a thick skin and be ready to be rejected hundreds of times. Buckle up. Your soul will be crushed and you will constantly doubt yourself.
Fadi: Soon after your book got released, you were faced by a stupid incident that costed you your publishing agreement. I remember being on the goodreads page of your book. Initially I was surprised that you had a thousand reviews in such a short time, which I thought wow, Natasha’s book has picked up, but when I started reading the reviews, I felt shocked with the amount of hatred you received. They were giving you one star review and attacking you personally rather than objectively assessing your work. It must have been a tough time for you. Tell us about the incident and how did you handle it. Did the bad publicity help you in any way or form? You know what they say “bad publicity is good publicity”, you may beg to differ.
Natasha: I was involved in a Twitter controversy after I tweeted about a DC metro employee breaking the rules on the job. In retrospect, I should have used a more private manner to complain, and if I can take this back I would. To my shock, I was seen as racist since the metro employee in question is African-American, although I never mentioned the color of her skin! In addition to all the death threats I received and all the derogatory comments, my novel’s Goodreads page was attacked by thousands of people who left one-star reviews without reading the book, and who also left personal attacks. I contacted Goodreads numerous times, but they never took action. Thankfully, a new publisher picked up the book after my old publisher caved to the online mob and dropped the book. This was really hard on me and I sunk into deep depression. Thankfully, there was a happy ending with the book being republished. The only way the “bad publicity” helped me was that I got a better publisher
Fadi: Do you plan on translating the book and publish it in Arabic? As I mentioned before, I feel that we miss these stories in our local literature. It’s actually part of the reason I started writing myself. I felt that our lives are rarely represented accurately in literature. It would be nice to have your book translated. Do you write in Arabic? Have any plans of writing any of your future work in Arabic?
Natasha: I definitely would love to see my novel translated into Arabic, I have already talked to a number of Arab publishers in the region, but there is nothing concrete yet.
Fadi: I know from experience that working on promoting the book takes same time and effort of writing it. How did you promote your book? You once gave me a good tip to approach “Instagrammers” for reviews. That was brilliant. What other things do you recommend?
Natasha: These days authors do the bulk of marketing, so you need to spend a big chunk of your time marketing your work. Here are some tips:
Create your own newsletter and send it to your subscribers at least once a month. Keep them updated with your latest news. Newsletter is a must!
Approach people who run podcasts. There are tons who interview authors and review books.
Contact bookclubs (there are a number of virtual ones) and ask them if they would be willing to read your book and host you as a guest to answer questions.
Join a writers group Facebook group. They are usually very supportive and offer a lot of help and advice.
Fadi: Who are your favorite authors? and what’s your favorite book?
Natasha: I love the work of Jhumpa Lahiri, Junot Diaz, Ahdaf Soueif and Dave Eggers. I think my favorite book is The Namesake by Jhumpa Lahiri
Fadi: Are you working on a new story? What is it about?
Natasha: I’m working on a novel set in Amman, Jordan. It’s about a building whose residents all immigrate to the US and all end up facing unfortunate and sometimes tragic events. They all wonder if these unforeseen harsh circumstances were a result of their bad luck, or if they were actually all cursed. Was there a hex (a’mal in Arabic) in the building that never left them? Or was it their own choices?
I am look forward to reading more of Natasha’s work and wish her all the best. For more about her and her work, visit her website http://natashatynes.com/
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When they announced the short list of The Best Foreign Film for Oscars this year, a national euphoria hit Facebook. It was one of those moments, when everyone felt proud. “Theeb” reached the Oscars, a Jordanian film that has been gaining praise world wide, winning awards here and there and demonstrating how far the film industry in Jordan has gone.
We can make quality films, Nadine Toukan believed, and she delivered. Jordan’s film industry is still in its infantile stage. It was started merely 10 years ago with a governmental plan to establish “The Royal Film Commission”, which was part of a national strategic plan to create a creative industry that would build on the energy of the young population in the Kingdom. Nadine joined “The Royal Film Commission” at the time with a mandate to search and develop local talents in the film industry and she did an amazing job; Today there are hundreds of Jordanian talents carving their way in an industry that is yet to mature. Nadine didn’t only that, but also topped herself by showing everyone that it is possible to make a Jordanian film and pioneered the scene by producing the much loved “Captain Abu Raed” in 2008, followed up by “When Monaliza Smiled” in 2012, and finally the globally celebrated Oscar nominated “Theeb”.
I am so proud of have the chance of interviewing Nadine and ask her the following:
Fadi: You are going to the Oscars! How does it feel?
Nadine: Theeb is off to the Oscars. And don’t forget the BAFTAs tomorrow in London. Exciting. Rewarding. Confusing. So what. How cool. A melange of many feelings, and a good time for deep reflection and taking stock.
Fadi: You believed and you delivered. I remember that you once told me that what triggered you to produce “Captain Abu Raed” is that you wanted to show people in the film industry at the time that we can. Today, you are proving that we can’t only make films but we can also make quality films that can be admired worldwide. I would like to know more about what motivates you? was it your passion for storytelling or your love to your country and your people?
Nadine: I’m generally fed up with a few things: “We can’t, it won’t work, there’s no money, who cares…” Having our stories owned by others, and us almost always bothered at how they end up being told. Defeatist attitudes. Entitlement. Waiting for Godot. I’ve always lived to the tune of, “you want it, go will it into existence”. So in part, the power of imagination pull. Not driven by a major strategic plan, rather through a series of serendipitous events and situations.
Fadi: I have met you for few times only, but I have always read a side of you that I can’t help not to admire and point out, which is your willingness to help people realize their dreams. I don’t forget the time you tried to help me find a new job in order to be able to publish “The Bride of Amman”, and I remember when I first approached you for an interview on my blog, you wanted to give the spotlight to other people on the crew, like the first assistant director, Yanal Kassay.
Nadine: Listening to your plan for the book and that you needed a job, and reacting in trying to connect you with opportunities, is the result of my built in producer skills. That’s just how I’m wired. Filmmaking is one of the most collaborative industries. There’s no industry without the tribe. We’re used to having directors, actors, producers, and at times cinematographers, front it, but none of us would get far without line producers, ADs, PAs, coordinators, art directors, and the long list of people needed to be able to go the distance, including our generous backers and investors. It’s easy to get caught up in the hero syndrome. I find that scary, and it stops us from understanding through the necessary wider lens. In this industry, there are no heroes, there are heroic collaborations. On Theeb, Naji stood on the shoulders of giants to be able to direct the film this way. We are indebted to each and every single person who said yes at any given stage of this production. Theeb is possible thanks to many people who came together to raise the bar, and simply didn’t settle.
Nadine Toukan with the star Jacir Eid
Fadi: Looking at Theeb’s cast, you gave the starring role to the young bedouin Jacir; that in itself is a fairytale story. You are taking this young man to the Oscars! How rewarding it is being the person behind the success of many others?
Nadine: Jacir owes this big break to his father, Eid, whose lazy planning led Bassel and Naji to find Jacir in front of their camera. And then there was magic. I don’t agree with the notion that anyone is behind the success of others. Rather, it’s our continuous motion, and intersections of people and their actions. Speaking of serendipity: One evening while camping at the Ammarin Bedouin Camp in Beidha, a visitor from the area stopped by and sat with us over tea and small talk. Half way through, he stood up and gave me a piece of his mind: “You, all of you with your cameras, the makers of these bedouin TV series we see on the satellites, you should be ashamed of yourselves. Year after year you make one series after the other about our bedouin culture and stories. None of them are accurate, we don’t live that way, nor speak that way, nor do we socialise the way you fantasise. Yet you keep making them about us. And here we are. Still alive. Still living here, but you never come by to do your research right, nor do you speak to us. And you still keep making those silly bedouin series”. While I had never been involved in any of these productions, I knew very well what he was referring to. It was painful, and a much needed wake up call. Representation was broken, and that had to stop.
Back between 2003-5, I served on the committee working on Jordan’s submission to the UNESCO Masterpieces of the Oral and Intangible Heritage of Humanity program, under the title: The Cultural Space of the Bedu in Petra and Wadi Rum. It was a challenging feat that ended up being proclaimed in 2005 and ratified in 2006. One of the recommendations of the action plan was to create programs that would support the communities in these areas own their culture and oral heritage in their own way, in their voice. Then one day, some of the least likely suspects collaborated on the making of Theeb. A story owned and performed by the community itself, simply because we were open to listening to the situations we found ourselves in, and decided to break free from anything that had been before us. We followed our instinct, and paid attention to opportunities that presented themselves to us. Then took a series of risks and leaps of faith.
Fadi: I watched “Theeb” at Abu Dhabi Film Festival last year, and had goose-bumps seeing the theatre full of people who all stood up at the end and clapped. Did you foresee its success?
Nadine Toukan and Naji Abu Nowar
Nadine: A lot of hard, good work went into the film by a large group of extraordinary people. I knew we had something special. The backstory of which is even more special. When Bassel pitched the project to me back in 2010, it was “a bedouin short film”. I remember looking at him curiously, smiling, wondering where this may go. Then he said he had passed it on to Naji for script notes. Bigger smile. Two remarkably talented and interesting people were about to collaborate. The beginning of an excellent equation. And when we started making creative decisions on how we were going to approach the production, it was clear we had something authentic.
Fadi: As you know, the Jordanian film industry is still in its infantile stages. There are many challenges that we have to overcome. Having a Jordanian film showing in cinemas in other countries is a challenge in itself. How did you do that?
Nadine: Through expensive sales agents and distributors.
Fadi: What are the biggest challenges that you think is facing the Jordanian film industry?
Nadine: Writing. Waiting. Distribution.
Fadi: Making films usually requires big budgets. There are only few cinemas in Amman and I would say, like the publishing industry, distribution channels are limited. How did you overcome that? Did you make profits for “Theeb” yet?
Nadine: No. Sales agents and distributors take a huge cut for the work they do. We’ve had limited distribution. We are back in some theatres around the Arab world this month post the nominations, and we hope the long tail of the life of the production may eventually pay off. I think I’ve heard the questions: “Is it on YouTube or any of the torrents?” and “When will Hammoudeh be selling it?” more than: “When can I buy a cinema ticket?”
Fadi: The Royal Film Commission has done an amazing job in training young Jordanian talents in the past decade and facilitating and help funding local films but it was hit by the global financial crisis and the tough situation that Jordan has been facing after the Arab Spring. It is still playing an active role in helping the industry but not as strong as it used to be. How do you see the RFC support for the industry?
Nadine: The RFC has done some excellent work over instances, but no where near enough. I say this as someone who once worked there when it first started, and say it with a lot of love. I don’t think the global financial crisis is a valid excuse. Sounds like a good cover. This is the time to be brave and aggressive, and think of new types of collaborations for growth. I’m grateful to the RFC for giving us a loan from a modest fund they had, to make Fadi Haddad’s feature, When Monaliza Smiled, the year we planned. That enabled us to get on with it without delays. It was produced on a shoestring budget, and ended up resonating with diverse local audiences. Prime Cinema, Amman, kept the film showing for over 9 weeks. The best kind of cinema partners a local film could hope for. Sometime ago, Ruba AlAyed (now with MBC) handled marketing for the RFC, and one of the slogan’s she worked within back then was: Anything’s possible in Jordan. I’d like them to deliver on that. It means getting unstuck. The RFC may have to step way out of its comfort zone, and radically change the way they’re doing the work.
Nadine Toukan and Fadi Haddad
Fadi: You raised the bar so high, do you see other Jordanian films following Theeb’s steps and achieving such success in the near future?
Nadine: I hope they go ever further. No reason not to.
Fadi: What was your wildest dream at school?
Nadine: Depends what stage of school. I had many that changed a lot. Never really knew what I wanted to be when I grew up. Still don’t. Next time we talk, ask me about my wildest dream tomorrow.
Fadi: What’s your next step after the Oscar?
Nadine: You mean after Theeb. Always on a quest towards identifying my next screen production. I’m also spending this year working with the Doha Film Institute on a wonderful program for emerging Qatari filmmakers. DFI is doing meaningful work, and in line with my own philosophies for the needs ahead for an Arab renaissance. It’s a place and program where a generation of Qataris are busting to see and tell things for themselves as they experiment with the cinematic arts. A beautiful exchange where I get to give of my experiences, and they give me of their dreams. What an honour.
Fadi: What’s your motto in life?
Nadine: Screw it. Let’s do this!
Fadi: Screw it. Let’s do this indeed! Let’s bring our stories to the world! Thank you Nadine.. best of luck tomorrow in the BAFTAs and later this month in the Oscars.. You make us proud!
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If there is one measurement that would predict the success of a person in a certain field, it would be his/her passion. Mutasem Subeih is one of those people, who along with his writing and creative talent, shows a strong passion and perseverance towards carving a career as a writer. We met first time last year in Sharja’s book fair at the launch of “Janna Ala Al Ard”. He came to support me for my second book, and told me about his ambition (a work-in-progress at the time), a promising story titled “Ana 197” of a young man going through out of body experiences in his dreams.
The book came out few months ago, and I had the chance to get my copy in a book signing Mutasem organized in Dubai. It was published by Arab Scientific Publishers who won Sheikh’s Zayed Award as the best Arab Publisher earlier in the year and it shows a beautiful cover of a man trapped in a bottle. The concept is creative, and the story is crafted well.
I had the chance to interview Mutasem and ask him the following:
Fadi: I have experienced it myself, it is not easy to find a decent publisher for your first book, especially when you are a new writer. How did you manage to secure a publishing contract with the best publishing house in the Arab world?
Mutasem: Indeed it’s quite a struggle to find a publisher as a new writer. However, I never gave up. I was persistent. I applied to somewhat 10 publishers and all of them refused publishing my book. Then luckily, three months later, ASP contacted me saying read and liked my book and hence approved to publish it.
Fadi: How was your experience with ASP? In terms of book quality, distribution, and publicity?
Mutasem: I’ve had a pleasant experience with ASP up to date. They are genuine and have been helpful. I believe they are trying their best to help me get the publicity needed. They are also willing to participate my book in all upcoming book fairs in the region.
Fadi: Why didn’t you publish your book with a Jordanian publisher?
Mutasem: Unfortunately, Jordanian publishers didn’t believe in my book. I tried with two reputable Jordanian publishers, and yet both refused my book with invalid reasons, I believe. After ASP accepted to publish my book, one of them called back saying they were sorry that they have not actually read the book. They then mentioned that I could publish with them the book at any time. Of course, I have already have signed the contract with ASP back then. Six months later, I learned that the Jordanian publishers do not participate in all book fairs. For instance they have never participated in the Al-ayam Book that began in Bahrain on the 2nd of October.
Fadi: I know what it feels like holding the first copy of your book when it first arrives. It is quite an accomplishment. How did it feel?
Mutasem: Super exciting! I cannot put it down in words. I’m very grateful.
Fadi: I read the book two months ago and loved the concept of it. The idea of coming out of your body and living the lives of others is intriguing. How did the idea come to you?
Mustasem: Funny enough, I was actually playing this game on PlayStation and I was quite astound by the main character of the game. I found myself wondering what it would be like if my soul travelled into his body and lived by his experiences? How would that feel? The idea captivated me and triggered me to write about it.
Fadi: There are interesting moments in the book where the soul of the main character argues with him. It fights with him, conspires on him, and terrifies him. The idea poses some important questions about identity, thus the name of the book has the pronoun “Ana”, correct? But what do you think really form our identities? Who am I? Am I my soul, my body, my nationality, my sexuality, my experiences, a sum of all of that? or what?
Mutasem: Precisely. You’ve summed it up pretty much! I think everyone has a different interpretation for that. Personally I think we are the sum of everything you mentioned combined.
Fadi: You have certainly wanted to explore the issue of identity in the book. There is another dimension where you tackle that in setting Malik (the main character) who is Jordanian in London. How did that helped you in shaping your story and developing the storyline?
Mutasem: As you mentioned, Malik’s mother is Arab, his father is a mystery but he was born and raised in London. Like many Arabs that live in the west, they find themselves lost between the east and west. Malik too is unsure where he stands, he goes on many journeys to discover who he really is physically mentally and spiritually..
Fadi: I liked the amount of the imaginations in the book where you can’t predict whose the next person Malik’s soul is gonna live in? That required a good research from your part taking us into different times and culture. But I can also see the issue of gender identity here, especially when Malik finds himself in a woman’s body. Knowing the importance and sensitivity of the matter to the Arab reader, you must have terrified your audience! What would you do if you wake up one day in a female body?
Mutasem: Funny that I have thought about this often! I always try to put myself in a woman’s shoe to try and see her perspective. I feel many women suffer vastly when trying to express their inner emotions and thoughts to men. I think it will be an embarking journey if I woke up in a woman’s body! They are so fragile emotionally and yet so patient and they can be stronger than a mountain.
Fadi: I don’t think that women are fragile emotionally but anyway. The book has been out for several months now, how was the reactions to it?
Mustasem: I’m quite grateful from all the feedback I am getting so far. It definitely is more than I ever expected. Ilhamdilah.
Fadi: What did you do to promote it?
Mutasem: Its a struggle to promote books in the Arab world general. However I have to admit that I am blessed to be working in the media field. My colleagues have generously helped me reach out my voice.
Fadi: Where is it available?
Mutasem: In Jordan, Egypt, Lebanon, KSA, Bahrain, and soon in UAE and rest of GCC. It can also be found in every Arabic book fair.
Fadi: Are you working on your second book? What is it about?
Mutasem: I began writing a novel for a few months about the future. However I couldn’t presume with it as I felt there was so many unspoken issues are going on now. So I am still working on the idea, but the idea revolves around a Jordanian girl suffering with endless obstacles in her hard life.
Fadi: I love seeing Jordanian talents emerging in all creative fields. Unfortunately, we barely have established industries that support such talents and help refining them and lifting them. The publishing industry has never been strong in Jordan, same for Film, Drama, Art, etc. Yet, we see young Jordanians carving their way into these industries trying to position themselves and the country in the map of the Arabic world. How do you see the state of the industry in Jordan? and what do you advise writers who are looking into entering this field and publishing their first book?
Mutasem: Honestly, I see a bright future for our and the coming generations. We are on the right track. We are trying our best to catch up with developed countries. We have so many hidden talents and I feel they are starting to raise their voices. My advise for new writers, is never to give up on hope. If one is truly passionate about writing, then they will keep writing and never give up on getting it published. The world is big enough, there’s so much room for new writers.
Fadi: Thank you Mutasem. I wish you the best of luck. And I look forward to reading more for you. It is always good to see a young Jordanian talent determined to succeed..
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