Colleen Higgs: Digital publishing has brought new opportunities for publishers
Colleen Higgs started Modjaji Books in 2007 as an independent feminist press that publishes southern African women’s fiction, poetry, and biographies. She felt African women deserved to tell their stories on an authentic and conscientious platform. Many Modjaji book titles have gone on to win numerous prestigious literary awards both locally and internationally. In this article, Colleen Higgs talks about her work and what it takes to be a feminist publisher. What are the top three things someone needs to consider before opening a publishing business? Do you have enough starting capital? Publishing requires money up front and it takes time to earn that money back. Think carefully about why you are doing it. After many years of publishing, you might find it tough to deal with all the many demands made of you, the lack of appreciation for what you have done for writers and how little money you make from doing the work. What is your focus going to be? It is good to have a very particular focus, it will help you to find an audience and to make decisions about what to publish. Tell us about your work as an independent publisher. Being a writer I understood what it was like to want to get published and the inflation and deflation of the relationship with a publisher. It didn’t prepare me for all the work that it takes though, the ongoing attention to the big picture and to detail that the publisher has to manage. Publishers do a vast number of things. You don’t just read through submissions and select books to publish. There is a huge amount of admin. You work out a vision and focus for your company and keep a firm eye on the money and cash flow. You must constantly maintain relationships with all the people you work with: printers, writers, editors, illustrators, artists, proof-readers, shareholders, accountant, book-keeper, bookstore owners and employees not to mention participating in book fairs and doing interviews! Why was it important to open Modjaji Books as a ‘feminist’ print? Modjaji fills a gap by providing an outlet for writing by women that takes itself and its readers seriously. Having lived through and enacted publishing only women, I became aware of how this has been a deeply political act. When you think about the way publishing is owned, media is owned, who gets to make the decisions, and how women are represented, here and internationally it just made sense. Women do have a different experience of the world – not just because they are women, but because of the way power is structured and filtered. I had experienced my own writing not being taken seriously because it is too ‘confessional’. I wanted to make a way that other women could be published where a set of values and perceptions that were not patriarchal and were not centered in the “Dead, White, Male canon” would make the decisions about what should be published. Many of your authors have been nominated to win prestigious literary awards. How do you feel about this? Modjaji has been lucky enough to publish the work of very talented writers. I like to think it is also because we have done a good job of editing the manuscripts and because of how the company is positioned and how we have framed and spotlighted particular works. We have published a lot of debuts short stories and poetry collections, many of these have won prizes, and yet they are books that most commercial publishers would not touch. How has society changed by reading your published books on infertility, stillbirth, homosexuality, etc. I have seen how these books have added to a growing discourse on topics that were taboo or not in the mainstream but now have a more prominent place. I’m proud to have had Modjaji Books be at the cutting edge of this kind of publishing here in South Africa. Haven run Modjaji for twelve years, have you faced any challenges running an African press? Yes, there are challenges, we are not supported by government policies that help us to grow and increase our sales. Recently the SA Book Development Council funded our participation in the SA Book Fair. I don’t think this goes far enough. I think there needs to be an active policy of buying local books for libraries. If we as independent South African publishers knew that even as few as 500 of our really good titles would be bought by the library system, it would make it all much more viable. Trade routes and avenues of distribution into other African countries are not nearly as strong as are those to Europe and the US. It would be great to see work on this taking place at a national level Publishing is a very expensive industry. As a publishing brand, how do you approach your need for commercial success? I have to confess I have not focused too much on commercial success! I thought that if I published something that needed to be heard it would be commercially successful. This has not been the case. I have tried to publish books and voices I have loved. With the increase of digital books, self publishing, and rumors of the “death of print”, how do you plan on staying relevant in the industry? If one continues to publish books that are well written, powerful and have a clear voice, a particular story, we as publishers will remain relevant in my opinion. It is important not to get stuck in a particular mind set and to be open to new technology and to new voices and perspectives. Having said that, there have been many changes in the last 12 years. Social media has become a force for publishing books, and for writers to connect with each other. Digital publishing has brought new opportunities for publishers. Self-publishing has its place, but there is still a great deal of room for publishers to work
Oladoyin Oladapo: I never planned on writing a book series
[bctt tweet=”Oladoyin Oladapo is inspiring girls to reach their maximum awesomeness with Girl to the World” username=”SheLeadsAfrica”] Oladoyin Oladapo is the author of the “Girl to the World” book series which consist of four chapter books and four picture books for children below 12. These books share values essential to girlhood; intelligence, curiosity and self-esteem while highlighting the diverse world around us. They are more than learning about differences instead, they are fun and captivating to read like traditional children’s stories. This is because after spending six months in a local elementary school with her team, Oladoyin discovered that children that age are not as concerned as we were about learning about developmental concepts such as culture and values. So if her team wanted to get children to read, they had to mask all the educative material with fun and exciting stories. This led them to create the “Girl to the World” book series which empower children but are still fun to read. The series teaches children but not are not textbooks. Oladoyin believes that the content children consume at this age moulds their future; her goal is to expose children especially girls to different cultures. Read on to find out how Oladoyin Oladapo is helping girls reach their maximum awesomeness through the celebration of culture, girl power and universal concepts like arts, friends, family, fashion, sports and school. Tell us a little about yourself and your writing background? I am from Nigeria but live in the USA. My family migrated to the States when I was very young, so that was where I had most of my education. I studied sociology with education concentration and political science with international relations concentration. Around my junior year, when I first got the “Girl to the World” idea, I was studying gender and inequality in education and I think that a lot of that really formed the idea. I however planned on making multiple things with the idea; thus toys and animation etc. The first prototype I made with this idea wasn’t a book. I had to try out other things until I finally decided to start with a book, which was a great idea I must say. With regards to my writing background, I never had professional experience in writing. But I was always doing creative writing among others in school which gave me some experience in this field. So when the time came to write the books, what I did was to put together what I knew and I guess I did the best that I could. You said you and your sister read a lot when you were young, which books had the most impact on your life? Would you say reading so much at a young age ignited this passion to write the Girl to the World series? My sister and I read a lot, I remember reading the Bible a lot when I was growing up. At that young age however, I wasn’t able to understand the Bible so I was given the picture Bible which made it a lot easier to understand. In terms of actual storybooks, our dad would take us to the library all the time. We spent an entire summer reading Chicken Soup for the Soul. I mean we read the entire series of that book just like the Babysitters Club, the Magic Treehouse, Junie B. Jones and Captain Underpants series. I really enjoyed Captain Underpants because it was an easy read and I loved the pictures and how funny it was. Also I believe that because I read so much, I had the confidence that I could write the book even though it was something I never planned on doing. [bctt tweet=”Everyone wants to know why I don’t have a Nigerian girl in my series – Oladoyin Oladapo ” username=”SheLeadsAfrica”] From your Youtube video, you stated that there are four chapter books and four picture books about four amazing girls. These girls are Akua from Ghana, Shivani from India, Estefany from Colombia and Chazelle from Trinidad and Tobago. How did you come up with these characters and how did you choose their nationalities? Was is random or planned? Everyone wants to know why I don’t have a Nigerian girl. It’s a long story. The thing is, the first person who joined my team was a Ghanaian girl who helped me write the first story. And later, when we decided to extend to other characters, we wanted geographical diversity. It didn’t make sense to have Nigeria which is like two doors from Ghana. I wanted to get other places around the world. Ghana was already there so I decided to hold on with Africa and try other continents. Then I decided to choose countries that I felt like I knew enough to write about. As I am an outsider and not from any of these cultures so I did research and talked to people who are from there. I wanted to make sure I had enough resources, facts and details so I could write about them. I wanted it to be authentic, genuine and good. That was the major reason for creating stories from different regions. Also these were cultures I really really enjoyed. I feel like if I wasn’t a Nigerian, I will be Indian. All these countries I was exposed to, I felt like part of them. With each character we wrote about, I felt like I was the one in the story. As a Nigerian, I have lots of Ghanaian friends and I am used to their culture so I chose cultures that resonated with me. However, these characters are just the beginning. I plan to extend to all the other cultures. You and your team spent six months in a local elementary school to study and test out your contents. Can you share with us some of your findings? What I learnt was that children just want to have fun and want to be engaged first and foremost.