4:00 AM
BY EverLeigh0
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African American / Nonfiction
Date Published: 08-30-2025
In a society increasingly defined by fleeting trends, social media
facades, and a loss of authentic masculine identity, Elbert Jones Jr.
challenges readers to look past the surface. "Real Men vs. Plastic Men" is a
powerful, thought-provoking guide that dissects the difference between
performative masculinity (the "Plastic Man") and genuine character (the "Real
Man"). Jones provides actionable advice and deeply resonant insights on
building integrity, emotional intelligence, discipline, and true leadership.
This book is a necessary conversation starter for anyone seeking to redefine
strength and live a life of meaningful impact.
Interview
the process of getting "Real Men vs. Plastic Men" published—that’s a story that involves years of community work long before it became a book. The idea didn't come in a sudden flash of inspiration; it came from decades of observing a persistent problem in our community. As a mentor, a father, and a community leader, I saw too many young men adopting this superficial, fragile identity—the "Plastic Man"—that left them completely unprepared for the real responsibilities of life.
I was seeing too much talent wasted, too many families fractured, and too much potential buried under a pile of ego and pretense. The message of the book first took shape in my sermons and my mentorship sessions. I wasn't just preaching; I was diagnosing a spiritual and social emergency. I started by simply cataloging the differences I observed. I made lists. What does the "Plastic Man" prioritize? (Image, shallow status, immediate gratification.) What does the "Real Man" prioritize? (Integrity, legacy, delayed gratification, accountability.)
As I accumulated my notes, my spiritual insights, and the real-life case studies from my years of counseling, I realized this wasn't just a sermon series; it was a full blueprint. Because I am responsible for the financial deciscisions of KJ Publications, Inc., the process was internal, but it was far from easy. As the author, I had to submit myself to the same rigorous editorial process any other author would. I needed my editorial team to treat me not as the boss, but as the writer, and they did.
Structuring the Argument: The biggest challenge was moving from the rhythmic, emotional flow of a sermon to the disciplined, sequential logic of a non-fiction manual. My editors helped me ensure that the passion was backed up by an unbreakable, practical framework.
The Final Goal: We published it ourselves because we understood the urgency and the specificity of the message. We knew this wasn't a book to be watered down or generalized for a mass market; it needed to be a direct, uncompromising call to action for the men and families in our specific community.
What surprised you most about getting your book published?
So, the book started as a necessity, grew through disciplined observation, and was published with the singular goal of providing a clear path out of the spiritual deficit we’re facing. It was a long labor of love and conviction. B) The biggest surprise, hands down, was how quickly the book stopped being mine and became a tool for the community. The shock was realizing that the readers, particularly the sisters in the church and the mothers in the community, immediately claimed ownership of the core message and began applying it in ways I hadn’t initially envisioned.
I expected men to tell me, "I need to stop performing." What I got was women telling me: "Mr. Jones, this book gave me the language I needed to demand a true standard of character in my own home." They weren’t just reading it; they were using it as a yardstick and a guide for what to accept and what to reject in their relationships. It was profoundly humbling to realize that my work transcended its initial purpose. It went from being a manual for men to being a litmus test for the family and the community as a whole. The book became a mirror that every reader holds up to themselves and their situation.
That feeling—that the spirit and the message you poured out now belongs to the people, and they are using it to build their own lives—that’s the biggest, most satisfying surprise of the whole journey. It elevates the work from a personal accomplishment to a public ministry. C) That is a lovely change of pace, asking about what I do when I put the pen down!
Tell us a little about what you do when you aren’t writing
Well, when I'm not in the thick of things—either writing a challenging chapter for the next book or dealing with the administrative side of KJ Publications, Inc.—I try to balance that serious focus with a bit of necessary soul food. The first thing you’ll find me doing is throwing on some music. And I’m not talking about that new synthesized stuff, no sir. I'm talking about the classics. My go-to is the legendary James Brown. There’s nothing like the raw, powerful energy of "The Godfather of Soul" to cleanse the spirit after a long week. You’ll find me letting those hits play, tapping my foot, and just letting that foundational soul music reset my rhythm.
And to properly enjoy that music, I'll pour myself a glass of good red wine. Just a little something to slow the world down and reflect on the blessings and the battles of the week. Of course, even in my downtime, I’m still an entrepreneur and a family man.
My family—they’re the ones who keep me grounded. They’re the only ones allowed to call me "June." That's my childhood name, and when I hear that, I know I’m home and I’m just "Uncle June" to my nephews and neices or brother to my siblings..
Then there’s my business partner, Darrell King—my longtime friend and the co-owner of KJ Publications. To him and my other close friends, I’m "Jonesie." When "Jonesie" is talking to Darrell, we’re talking strategy, we’re talking about the message, and we’re making sure that KJ Publications, Inc., remains a powerful small press that keeps giving our community the literature it needs. D) "That's a powerful question, and the answer isn't what most people might think. It wasn't the moment I got the email with the book deal—though that was a monumental day, absolutely.
The most pivotal point happened much earlier, and it was the day I made the conscious, difficult decision to stop writing for approval and start writing for courage.
For the first few years, I was paralyzed. Every sentence I wrote was filtered through an imaginary, hyper-critical committee: Is this literary enough? Is this what a publisher wants? Will my English teacher judge this structure? My drafts were sterile, polite, and frankly, boring, because I was constantly self-censoring out of fear of rejection.
The shift came during a period of deep frustration. I was ready to quit. But before I did, I decided to write one last piece of work that I would never show anyone—a piece purely for myself. I wrote the messy, loud, honest story that had been bubbling inside me, using the language I actually thought in, tackling the themes that genuinely kept me up at night, regardless of whether they were 'marketable.'
When I gave myself permission to be that vulnerable, that authentic, the writing finally flowed. The self-doubt quieted down because I had already accepted the worst-case scenario: that this one wouldn't get published.
Ironically, that final, 'unpublishable' draft—the one born of courage, not compromise—is the one that became the book. The pivotal moment was choosing self-expression over self-doubt." "The places where I get my best ideas are actually pretty mundane, but that's exactly why they work. My most potent creative breakthroughs happen when I'm driving home from work, sitting on my deck out back drinking a glass of red wine, or busying myself with the day-to-day business of maintaining KJ Publications, Inc. It might sound counterintuitive—that the COO desk or the evening commute is where inspiration strikes—but I think there are two strong forces at play:
The Brain's Free-Range Time: When I'm actively working on the manuscript, my mind is in 'editor mode.' It's analytical, critical, and focused on structure. The moments I've listed are when the front of my brain is occupied with an automatic task—driving a familiar route, savoring a wine's bouquet, or reviewing a sales report. This frees up the subconscious to make connections. It's in these moments of passive engagement that a character’s motivation suddenly clicks, or an entire scene unfolds itself, unburdened by my internal critic
What is the toughest criticism given to you as an author?
Proximity to Pressure: The reality is, the business of publishing—the budgets, the contracts, the deadlines—creates a lot of background tension. My ideas often stem from finding a creative release for that pressure. Sitting on the deck with that glass of wine, for example, is the designated 'decompression time.' When you actively step away from a problem, the mind often solves it in the periphery. It lets me transform the stress of the publishing world into the energy needed for the writing world." F) "That’s an easy one, though it stung a lot at the time. The toughest criticism I ever received was from my very first reader—not a beta reader, but an early, trusted colleague—who simply wrote in the margins next to a core chapter on accountability: 'I don't care.' It wasn't a critique of my research, my tone, or my grammar; it was a brutal assessment of the book's relevance. When you're writing nonfiction, you're not selling a plot; you’re selling a solution or an idea. Seeing those three cold words—'I don't care'—felt like a dismissal of the entire premise of the book.
But that was the lesson. The person who wrote that wasn't being malicious; they were being honest. They didn't care because I had failed to properly articulate the stakes for the reader. I was too focused on defining what a 'Plastic Man' was, and not enough on illustrating why that definition mattered to the man holding the book and what he had to lose if he didn't change.
It forced me to completely revise the introduction and every key chapter, starting each one by asking, 'What is the reader's immediate pain point?' It made me pivot from a purely academic argument to a deeply personal challenge. It was a brutal critique, but ultimately, it was the single most valuable piece of feedback that transformed the manuscript into a book that truly connects with its audience." G) "Honestly, my best accomplishment as a writer isn't the book itself being published—though watching it hit the shelves was certainly a thrill. It's the moment I realized the book had done its job in the real world.
What has been your best accomplishment as a writer?
He said he read the chapter on 'The Courage to Be Inconvenient,' and it hit him hard. He realized he was so busy trying to manage his employees' perceptions and chasing a number that he hadn't had a real, honest conversation with his own son in six months. He ended the email by telling me he had cleared his calendar that afternoon, went home, and spent the entire evening simply listening to his son.
That was it. No huge media appearances, no giant sales figures. Just one man making a profound, quiet shift in his life because of something I wrote. When an idea moves off the page and changes someone's behavior for the better, that's the real win. That quiet, powerful moment of connection is, without a doubt, my best accomplishment." H) "Zero! I have exactly zero other books sitting around. And that's largely because this book, Real Men vs. Plastic Men, is my first published book, and it’s nonfiction.
My process was very focused. While KJ Publications has made a name for itself publishing excellent novels—largely thanks to my small press partner in crime, my boy, Darrell King—my job here is usually on the COO side, not the creative side.
How many unpublished and half-finished books do you have?
When the idea for this particular book came, it was an all-consuming project. I didn't have the luxury of having three 'practice novels' in a trunk somewhere like fiction writers sometimes do. Every moment I had was dedicated to research, writing, and making sure this one core argument was absolutely rock-solid. So, there are no half-finished manuscripts, no abandoned concepts. There was just this one book, and I poured everything I had into getting it right."My proudest moment came a few months ago. I got an email from a reader, a man who runs a small local business. He told me that he'd been struggling with the concept of being a 'Plastic Man'—the man who prioritizes superficial success and outward performance over his own integrity and inner life.
About the Author
Mr. Jones is entrepreneur with well over 33 years in the U.S. government and knows how to operate a successful business. He has had experience as well in the entertainment field. During the late 1970s' and much of the early 80s' Mr. Jones affectionately known to his many friends and loved ones as 'June' or 'Jonesie' collaborated on various singles by several local DC area recording artists and has mentored underground rap star "D Young". A phenomenal businessman who loves people and live talk radio Elbert Jones Jr. is a great access to KJ Publications,Inc..
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