My book ended up with Flatiron Books, a division of Macmillan. My editor, Colin Dickerman, impressed me with his interest in human stories that move, educate, and influence readers. Since then, Colin has expertly guided me throughout the writing and marketing process, keeping me to deadlines and encouraging me to write the best book that I had in me. As the manuscript entered its final stages, Flatiron editor Jasmine Faustino significantly improved the flow and form of the text with her sharp and fresh eye for style and structure. Copy editor Steve Boldt and publishing lawyer Michael Cantwell both combed through the final draft for inconsistencies and refined the text to a fine finish.
Revealing part of her story for a short TED talk was already a big deal for Doaa, but exposing entire life story in detail for a book was a frightening prospect. I was deeply convinced that telling her story would help her come to terms with the tragedy and also offer her some much-needed financial support. I was also sure that her story would give readers real insight into the Syrian war, the grueling life that refugees face in neighboring countries, and the factors that drive so many people to risk their lives to cross the Mediterranean to reach the promise of Europe. My colleague Firas Kayal, a fellow Syrian who was deeply moved by Doaa’s ordeal, was instrumental in convincing Doaa and her family that the book was in their best interest and that they could trust me to write it. Doaa’s instinct was to withdraw into her trauma, and Firas helped her to understand how she could help other people by telling her story to the world.
To get the level of detail I needed, it was clear that I needed to work with a collaborator who not only spoke fluent Arabic but who was also sensitive to the plight of the Syrian people. I found that person in Zahra Mackaoui, a video journalist and documentary filmmaker who had worked for UNHCR covering Syrian refugee stories from Lebanon. Zahra has always impressed me with her talent for individual storytelling while painting a wider picture and generating compassion for Syrian refugees suffering and circumstances. She quickly developed a strong relationship with Doaa and her family. Her sensitive and caring approach earned their trust and confidence. Most interviews we conducted together, though some she conducted alone when I was unable to travel—in all, the interviews add up to over seventy hours of conversations. Some sessions were so painful for Doaa that we had to break off and start again the next day. We were the only ones she had spoken to at this level of detail about what had happened, and it seemed to help Doaa to talk about it. Zahra knew how to comfort her when she felt sad and to make her laugh to lighten her mood. Over the seven months we spent working together on the research, Zahra became a dear friend and a mentor to Doaa. The transcripts she worked on, which were translated thanks to Naglaa Abdelmoneim, provided a detailed account of what had happened over Doaa’s life, set vivid scenes, and captured her family’s dialogue. Zahra ensured that the transcripts were complete and coherent, that the time lines were accurate, that any lapses in memory were resolved, and that the emotions of the moment were captured. She also added perceptive commentary and contributed descriptive writing that helped shape the overall narrative and helped fully develop the contours of Doaa’s character.
At about the same time that I started working on the book in October 2015, the TED editorial team, led by Helen Walters and Emily McManus, published my talk on TED.com. The response was phenomenal. By the time I finished writing the book in August 2016, over 1.3 million people had viewed it, and it was subtitled in thirty languages by the talented volunteer TED translators. I am grateful to the TED editorial team for recognizing the power of Doaa’s tale and for providing the TED platform to raise awareness about the global refugee crisis.
I could not have written this book without Dorothy Hearst’s masterful writing support. She taught me the ins and outs of book publishing and the art of writing in long form. She also gave me confidence when my writing felt blocked or clunky, and she steered me with tips on how to improve. She provided chapter-by-chapter polishing, and her edits and additions helped bring the scenes into more vivid focus with color and emotion.
I would also like to recognize Jane Corbin, whose seminal BBC documentary on the Daara uprising helped me set the scenes that sparked the Syrian war. Other works that served as important references were Burning Country by Robin Yassin-Kassab and Leila al-Shami, as well as Patrick Kingsley’s The New Odyssey. I would also like to recognize the citizen journalists whose brave video reporting paid witness to the events that mainstream media, historians, and writers like myself refer to for helping to paint a picture of the war. Many thanks to Maher Samaan for checking the facts around the Syria chapters.