University of Nigeria Research Publications

MBULO, Chinyere N.

Aut

hor

PG/MBA/97/20399

Title

A Critical Analysis of the Marketing Problems of Nigerian Creative Writers, with Special Reference to Mrs. Ifeoma

Okoye

Facu

lty

Business Administration

Dep

artm

ent

Marketing

Dat

e

1999

Sign

atur

e

A CRITICAL ANALYSIS OF THE MARKETING PROBLEMS OF I ..

NIGERTAN CREATIV ITERS, WITH SPECIAL REFERENCE I

TO MRS IFEOMA OKOYE

MBULO CHINYERE NNEKA 8

NO PGlMHAl97120399

THIS PROJECT IS SUBMITTED IN PARTIAL FULFILLMENT OF

THE REQIJTREMENTS FOR THE AWARD OF A MASTERS

DEGREE IN BUSINESS ADMINISTRATION

PRESENTEI) TO

SCHOOL OF BUSINESS ADMINISTRATION

DEPARTMENT OF MARKETING

UNIVERSlTY OF NIGERIA, NSUKKA

1998199 SESSION

CERTIFICATION PAGE " .

DEPARTMENT OF MARKETING

IJNIVERSITY OF NIGERIA, NSIJKKA

THIS IS TO CERTIFY THAT THIS RESEARCH PROJECT

ENTITLED "A CRITICAL ANALYSIS OF THE MARKETING b

PROBLEMS OF NIGERIAN CREATIVE WRITERS" PRESENTED

BY MF3IJI.O CHINYERE NNEKA (MRS) IS WORTHY OF

ACCEPTANCE iN PARTIAL FULFILMENT FOR THE AWARD

OF MASTERS IN BUSINESS ADMlNlSTRATZON IN

MARKETING.

-. - - - - - - --

PROFESSOR UKWU I UKWU DR B C ACHSON

PROJECT SUPERVISOR HEAD OF DEPARTMENT MARKETING

\

iii

DEDICATION

This Project is dedicated to God Aln~ i~ l i t y , - M y husband Mr Eze

Mbulo, My clddren, Fechi, Tonna and Ebube. My father, Chief J C

Nwabugwu, my sisters Nkemjika and Uzolnaka and my brother

Obioha. b

ACKNOWLEDGEMENT

1 wish lo express my deepest apprecialion for the assistance,

criticism and suggestions of the following people who aided towards

the development of this Thesis:

Professor Ukwu J Ukwu, iny project adviser; Mrs Jfeoma b

Okoye, who readily shared her writing experiences with me and the

British Council, for their willingness to make available materials to

aid this research.

TABLE OF CONTENT

'. PAGE

TITLE PAGE .... .... .... i

CERTIFTCATTON PAGE . . .... .... .... 11

... DEDICATION .... .... .... 111

ACKNOWLEDGEMENT .... .... .... iv

.... TABLE OF CONTENT .... .... v-vii

ABSTRACT .... .... .... viii-ix

CHAPTER ONE b

INTRODUCTION

1 . 1 STATEMENT OF PROBLEM .... .... .... 1 - 2

1.2 OBJECTIVES OF THE STUDY .... .... 2 - 3

1.3 SCOPEOFSTUDY .... .... .... 3

I .4 SIGNIFICANCE OF STUDY . . . . ..... .... 4

1.5 STATEMENT OF HYPOTHESIS .... .... 4

1.6 DEFINITION OF TERMS .... .... .... 5 - 6

CHAPTER TWO

BACKGROUND TO STUDY AND REVlEW

OF RELATED LITERATURE

2.1 CREATIVE WRITING AND THE

CREATIVE WRITER TODAY .... ... 7 -9

2.2 THE BIRTH OF NIGERIAN CREATIVE WRITING .... 9- 10

2.3 MARKETING AND CREATIVE WRITING .... .... 10-11

2.4 NATURE AND ESSENTIALS OF MARKETING .... 11-13

CORE PROBLEM IN MARKETlNG ....

CREATIVE WRITING .... .... -r

THE SPECIAL MII,I.IEIJ OF THF? -

FEMALE CREATIVE WRITER .... ....

ANA; CREATIVE WRITERS AND

THE READING CULTURE .... . . . ..

PTJF%l.,lSHING-BACKDROP TO

CREATIVE WRITING .... ....

CREATIVE WRITING WITHIN THE

NEW TOTAL MARKETING EFFORT ....

CHAPTER THREE

RESEARCH DESIGN AND METHODOLOGY

SOIJRCES OF DATA .... ....

POPULATION AND SAMPLE SIZE . . . . ....

METHOD OF Ql JESTIONNT ARE

DISTRIBUTION .... . . . .

METHOD OF DATA ANALYSIS . . . . ....

LIMITATIONS OF THE STUDY . . . . ....

CHAPTER FOUR

PRESENTATION, ANALYSIS OF DATA

AND DISCUSSION OF FINDlNGS . . . . ....

INTRODUCTION .... ....

READING W I T S .... ....

READING PREFERENCES . . . . . . . .

MOTIVATIONAL FACTORS . . . . ....

vii \

4.5 THEDISTRlBUTlONOFBOOKS .... .... 31

4 . THE EFFECT OF THE NIGERIAN

4.7 HAVE NTGERTAN WRITERS HEI,PED

TO SELL THEIR BOOKS? .... .... 32-33

4.8 HOW HAVE PUBLISHERS CONTRIHIJTED

TO THE BOOK INDUSTRY ? .... .... 34-35

4.9 TtIE FEMALE WRITER - A CASE

STUDY OF MRS TFEOMA OKOYE .... .... 35-38

4.10 INTERVIEW OF MRS IFEOMA OKOYE .... 38-42

.... 4.1 1 HYPOTHESTS 1 .... 4 3 4 4

.... 4.12 HYPOTHESIS I1 .... 44-45

4.13 HYPOTHESIS 111 .... .... 45-46

CHAPTER FIVE

5.1 SUMMARY OF FINDlNGS .... .... 47-48

5.2 CONCLUSIONS .... ... 48-49

.... 5.3 RECOMMENDATIONS .... 49-52

BIBLIOGRAPHY

JOURNALSIARTICLES

APPENDICES

APPENDTX 1 - SAMP1,E OF QI JESTIONNAIRE

APPENDIX 1 1 - SAMPLE OF ORAL lNTERVIEW

APPENDIX 1 1 1 - SAMPLE OF NEW DEAL BETWEEN

WRITERS AND PTJR1,ISHERS

APPENDIX IV - AZMS AND OBJECTIVES OF ANA

viii

ABSTRACT

This project studies and analyzes the maf-keting of Nigeria creative -. .--..

writing within Nigeria.

I t came to the researcher's attention, that apart from the academic

world which by it's very nature mandates lecturers and students alike to

study certain literature: there are discovered fi-om a curious observation of

various libraries, schools and homes, a huge readership of what Mrs lfeoma

Okoye calls "pleasure readers" - readers who read fictional and non-fictional

8 works for the pleasure of reading. Rut surprisingly, I noted that more of

tliose sampled were reading the foreign novels of James Hardley Chase,

Jeffiey Archer, Michael Chricton, Jacqueline Sussan, Sidney Sheldon,

Danielle Steel; James Joyce, etc. 1 wondered why there were so few people

reading, Achebe, Munonye, Okoye, Nwapa, lyayi, Sofola, Alkali, Gimba

etc.

I t suggested that perhaps, Nigerian creative writings are not properly

targeted to the Nigerian "pleasure" readers. There seemed to be a chasm

separating Nigerian readers from the writers? What are the writers,

publishers and literary agents who are supposed to get these written works to

the readers doing wrong? What should they do right to close this chasm?

Being a female interested in gender-related issues, these questions led

me to wonder if female writers experienc,ed any peculiar problems wliicli '+.

their male counterparts did not normally enconnter.

To frrrtl~er research the above problems, data was collected Eroin

observation, personal interviews and questionnaires to readers and writers.

Data was also collected tlirotigli Jorrmals, books, magazines, Newspapers

and Seminar papers.

Major findings of the study were that: b

1. Nigerian creative writing is indeed poorly marketed as pleasure reading

2. Contrarily Nigerian pleasure readers read a lot of foreign authors.

3. Nigerian writers cannot make a living from merely selling their writings

because there are very few real buyers

4. Female writers cannot claim to have any real peculiar problems as

writers. What problems they have are associated with their role as

females? The same problems any mother and wife should experience as

she tries to combine these functions with a full-time profession.

5. Nigerian literature is inostly read as a compulsory part of school

c~uricul~~m in secondary schools and Universities.

6. The marketing of Nigerian creative writing can only be improved by the

concerted effort of the Nigerian governlnent, the publishers, the b,

and the readers themselves.

7. Government should keep prices of books affordable; publishers

writers

should

ensure that books get to readers at affordable prices and that book

advertisements are improved; readers should look illto the creation of

book clubs, reading comers, book competitions, book reviews to improve

their readership and writers should improve their selling strategies. b

1 . 1 STATEMENT OF PROBLEM

According to the new edition of the Collins Concise Dictionary,

"Creative writing is the devotion of one's time to writing by imagination,

characterized by originality of thought and always directed by afflatus".

It seems 11mt for a piece of writing to be good it should be effective;

by 1 1 ~ t it is suggested that it should state what the author wants it to say in

the most effective manner and with language appropriate to what is being

said (Fairfax 1989).

After the author has laboriously put his gl-ammar, syntax, meaning,

rhythm, pace, tone, weight, colour, depth, heart, spirit, energy and most

importantly the words interpreted in the writer's very personal "unique"

voice in writing, it is almost ineffectual if no one reads.

Tf writers must write, if they must reach their audience, if they must

enlighten, inform, educate entertain, it stands to reason that readers must

read.

Tt is my view at this point that marketing is crucial. Essentially,

marketing refers to all activities sul~ounding the buying and selling of goods

and services. So the questions arise - Having written, what do the writers

do to reach their target audience? Where writers may lament their inability

to create any market or state that their business is only to write not to

market; who does the marketing? Do we have publisliers playing these

roles? Is there need for better strategies?

'Fhis research work is set out to determine:

- What creative writing is going on in Nigeria?

- To discover what problems, if any, that may be peculiar to female

writers? b

- To analyze the strategies employed in marketing creative writing?

- To see about solving the marketing problems that are encountered in

creative writing?

1.2 OBJECTIVES OF THE STUDY

The primary objective of this study is to analyze critically the

marketing problems experienced by creative writers.

Also the study wishes to identify the specific or may be 'special'

problems encountered by female creative writers especially in Nigeria.

By extension therefore the objectives of the study will include

determining:

- Wiat is the business aspect of Nigerian creative writing, or at the risk of

sounding trite, how does the Nigerian creative writer market his writing?

- To x-ray some of the marketing practices and problems encountered in

the marketing of creative writing? % \ .

- To understand how adversely the poor economic situation, characterized

by socio-economic indicators like mass-unemployment, low productivity,

inflation, low income and so on has affected both the creativity of the

writer and tlie marketability of his works.

- To determine how effective or otherwise marketing factors like

distribution, promotion, pricing etc have aided in ensuring that creative b

writers get to their target audience.

- To investigate the marketing approach currently employed by Nigerian

creative writers

- To fashion out strategies to improve tlie marketability and consequently

readership of creative writing.

1.3 SCOPE OF STUDY

This study was based on creative writers, reader and marketers within

Nigeria special attention was focused on those resident in Enugu, Nigeria.

As a special reference, Mrs Ifeolna Okoye - a prolific writer of

novels, short stories, poems and article, sl~ared her experience as regards the

problems she had encountered in the writing of her works.

1.4 SIGNIFICANCE OF STUDY

This study was conducted with the intention of arriving at sound

conclnsions which may help the marketers and creative writers in the

following ways:

- '1'0 seek to measure the level of reading of creative writing going on in

- To discover what may be different about female creative writing and how

these may affect the marketing of same. b

- To improve the pricing, distribution, promotion and prodtiction of

creative writing.

- ro improve the marketing approach presently employed by Nigerian

creative writers especially as it affects creative writing and it's responses

to the marketing mix.

1.5 STATEMENT OF HYPOTHESIS

( I ) Creative writing is poorly marketed, here in Nigeria

(2) There is a huge a udiencellarge readership for creative writing

and yet Nigerian writers are not being read.

(3) Female creative writers are faced with peculiar marketing

problems.

1.6 DEFINITION OF TERMS

MARKETING -.

Marketing covers those activities that relate the organization to those

parts of the outside world that use, buy or sell or influence the outputs it

prodr~ces or the benefits and services it offers.

CREATIVE WRITING

Creative writing is the devotion of one's time to writing by

imagination, characterized by originality of t l~o~gh t and always directed by b

afflatus.

MARKETING MIX

A term introduced in the 1950's by Neil Roden an American

Businessman in reference to four independent factors that together add up to

the organization's total offer to customers - The 4ps - Product, Price,

Promotion, and Place.

POETRY

1,anguage sung, chanted, spoken or writing according to some pattern

of recurrences that emphasizes the relationships between words on the basis

of sound as well as sense: the pattern is almost always a rhyme or metre

which may be supplemented by rhyme or alliteration or both.

FlClTlON - The general terms for invented stories now usually

applied to novels, short-stories, novgllas, romance, fables and other \..

narrative works in prose even though most plays and narrative poems

are also fictional.

NIMARK - Nigeria Marketing Association

ANA - Association of Nigerian Arrthors

SYNONYMS

CREATIVE b

Artistic, Clever, Fertile, Gifted, Imaginative, Ingenious, Inspired,

Inventive, Original, Productive, stimulating, Visionary.

PUBLISH

Rring out, Issue, Print, Produce, Put out.

WRITER

Author, Columnist, Essayist, Hack, I,iteratneur, Man of letters,

Novelist, Penman, Penny-A-I ,iner(RAR E), Pen Pusher, Scribbler, Scribe,

Wordsm i t 11.

WRITING

Calligraphy, Chirography, Handwriting, Penmanship, Print, Scrawl,

Scribble, Script, Rook Composition, Documents, I .etter, Opus, Publication,

Title Work.

CHAPTER TWO

BACKGROUND TO STURY AND REVIEW OF RELATED LITERATURE

2.1 CREATIVE WRITING AND THE CREATIVE WRITER, TODAY

Creative writing is a phrase, which is open to a number of

interpretations. These range fiorn instant self-expressive writing to poetry

and prose which has been drafed and crafled to a polished and complete

piece of work. (Fairfax 1 989) B

Creative writers have always reflected their environment, by this T

mean both the inner environment or the soul stance and the outer

environment or the writer's view of society. The writer coin~nunicates these

environments creatively in various ways.

"'Tliere is the use of grammar, syntax and meaning. There is the heart,

spirit and energy. There's the word. And the most subtle thing of all - there

is the unique voice, the only totally personal way of saying or writing what

he or she wants to write"

Through this unique voice, a writer must speak out of his commitment

to something ranging from a spectrum of the virtuous to the rmwholesome.

Writing i s advocacy; As Ishmael Reed, an American writer puts it, "writing

H

is fighting, a form of boxing 011 paper. Rut like boxing and unlike war or

even a brawl, writing is fighting with finesse".

The creative writer is an artist first and foremost. In liis works, lie

should be able to engage tlie curiosity of his readers. He should be a first

class observer of liis society, a climnicler of events (not necessarily in the

manner of a historian) and a mirror tlirougli his works. He sliould inform

and entertain. He slioudd be able to make people cry and laugh. A creative

writer in his advocacy is no different from a politician or even a Military b

politician who is under the temptation to use his weapon to coerce all the

delinquents to toe the line.

We arc riot saying that a creative writer has to be socially-nel~tral. Far

from it. Me is human with emotions and preferences. However, given tlie

special nature of his vocation, lie must safeguard his credibility. He can be

political without being a politician, forceful witllout being a soldier or a

crusader. As an advocate of whatever colour or persnasion, he should first

be a participant observer, balanced and down to earth in liis assessment and

honest in his judgemental position.

"It is a part of tlie writer's duty to ensure that the society takes a

I thorough look at itself through his works. The writer must make each and

every one of us to reflect on our individual notes on how we have

contributed towards the ravaging storm of social ills that is afflicting us, and

how we are riot contributing towards dleviating our own suffering".

(Gimba, ANA Review October - December 1998)

2.2 THE BIRTH OF NIGERIAN CREATIVE WRITING

Modern fictional creative writing in English in Nigeria is known to have

started as a truly indigenous package with Amos Tutuola. It was infact

Dylm Thomas who recognized the greatness of Tutuola's "The Palrnwine

Drinkard" in I952 when Afiican critics had dismissed it as a disgrace to b

Africa. (Ogunyemi, 1 99 1 )

According to Yom i Ogunyerni in his book Studvina Creative Writing in

Nigeria "The inspirational birth of the creative writer in Nigeria came at a

time when only one person hardly (SIC) knew he was a creative writer. And

that one person, one inspiration, is Ainos Tutuola. He is the only self taught

international writer Nigeria has produced so far. He is the only man who fell

in love with his pen arid paper with proverbs, with dance, with music, with

songs and with the legends of a countrified people in a phantasmagorical

world, and then started writing "The Palmwine nrinkard" in his late forties

without studying Journalism, English, Literature, History or Sociology"

After Tuhlola, other creative works in English emanated from

Achebe, Ekwensi, Ml~nonye, I,iiiarn, Fapnwa, Nwanna, Tutuola, Alkali etc

(ANA Review, 1998).

2.3 MARKETING AND CREATIVE WRITING

Marketing has been described as the performance of such business

activities directed at satisfying the needs and wants of the consumer (Nnolim

Anoll~er definition sees marketing as comprising all these activities b

wliich ensure that the consumer is provided with the right product at the

riglit place, time and price.

The above statement seems to identify marketing as a consumer-

oriented philosophy aimed at generating cust oilier satisfaction. Marketing of

most "Products" strives to please tlie consumer: For creative writing, the

consmner is tlie "Reader".

In creative writing it will be false lo claim generally that literary

works are written to satisfy the desires of tlie dtitnate consumers. It will be

more truthful to say that the creative writer writes as he listens to the voice

in his heart. When lie has emptied his soul, he may then wish that he will

find readers from those who find an echo of his voice in their own hearts or

readers from those whose ears ache to hear what he has to say.

Having said tliat, it will not be false to say froin a marketing point of

vkw that a good writer writes with his audience in mind. It is that audience ,

tliat will be the writer's market share.

Therefore Sliairgnessy's definition best goes as a working definition

for this research:-

"Marketing covers those activities that relate tlie organization to those

parts of tlie outside world that USE, BUY OR SEIJ, OR JNF1,UENCE the

outputs it produces or the benefits and services it offers". (Shaugnessy 1992) b

2.4 NATtJRE AND ESSENTIALS OF MARKETING

Marketing has also been defined as a business function which seeks to

determine and satis5 consumer's needs and wants by using the resources of

a finn for a profit while fillfilling the social responsibilities of the firm to it's

environment? (Nnolim, 1 994)

For this study, the firm is the creative writer and by extension his

pirblisher; the product is tlie written work while social responsibilities are

often fulfilled by the recurring didactic nature of creative works.

Tn marketing generally, there is an inter play of certain functions or

variables that give rise to either good or bad marketing results. Four specific

but integrated functions are involved in the form of prodirct, pricing,

distribution and promotion - they are often referred to as the marketing mix.

lie management of these functions slioldd be backed by an information

sy&m that is constant1 y fed with infonaation from marketing researcli k.

1 actikities on the task, competitive and macro public environments (Nnolim,

Some scholars in marketing suggest that this list should include -

market research, product development, pricing, packaging, advertising, sales

1 promotion, selling mercliandizing and after sales service.

I . PRODUCT - A product can be considered as anything the buyer b

1 acquires or purcliases to satisfy a need or want. The term 'product'

1 does infact cover items such a s record players, books etc and services

I such as those provided by dentists, advertisers, writers, artists etc.

11. PRlCE -- 1s the amount of money placed on a product after due

consideration of the production and profit iliargin.

111. PI,ACE - Refers to location and availability, that is, the ways in

wliicli these prodwts and services are made available to a customer as

and when he (or she) wants it.

IV. PROMOTION - This is the term given to a collection of methods by

which an organization attempts to co~nrncmicate either directly or

indirectly with its market or its customers. The aims of such methods

include:

To create a demand for a new product

To maintain or expand sales $an existing product or brand

'1'0 creale a favourable image (%for customers, tlie public at

large) of the organisation

To maintain or expand the organization's share of a particular

market.

Promotional inetliods could be by indirect or mass selling, for instance

advertising, piiblicity, point-of-sale materials, mercliandising, packaging, b

sponsorships, competitions etc. Promotional tnetl~ods could also be direct or

by personal approach, f'or instance, telephone selling, face-to face, sales

promotion, personality appearances, planned exhibition stands, public

relations etc.

2.5 CORE PROBLEM IN MARKETING CREATIVE WRITING

A creative writer is first and foremost an inquirer after the tnrth.

In his search for truth tlie writer recognizes that writing is not merely

a craft, it is an art. As an art it is concerned with a dimension of learning

that cannot be taught but can only be intuited or learned in the instincts,

which in other words is experienced as a liberating moment of

enliglitenincnt.

A writer's subject matter comes fiom liis interior source and therefore

it has to be discovered. And it is that dis~overy that brings to the soul or to '..

the heart a moinent's alleviation of pain, a brief cessation of hostilities

within tlie blood, before tlie self feels itself diving again througl~ a turbulent

darkness.

"Because writing is an art, the first rule to understand abotrt any art is

that no art observes any rules. For tlie REAI, WRITER, there sliould be no

purpose in writing unless one has a burning ambition to be a very great one. b

He may fail in the end but success and failure are considerations that do not

concern the serious artist - neither being on tlie best-seller list nor being

crit ically acclaimed, though each, a perfectly natural wish, is a guarantee of

success and never-to be published, though a fate to be lamented, does not

necessarily imply failure, the only considerations that drives an artist

obsessively to his work is a desire for perfection of form that, taking it's

myriad facets from the great tradition represents liis image of reality".

(Fairfax, 1989)

The writer's duty is to give the subject matter or his experience as

Henry James7 says "the air of reality". To achieve that air of reality his task

is to render the look of things, the look that conveys their meaning, to catch

the colour, the relief, the expression, the surface, the substance of the human

spectacle. i

What he does when he writes is to let the images of his experience

appear and to record them in a language that so~lnds right. NATURELNESS

is all, he makes reality happen, very simply.

Clearly from the above, creative writing is nothing but the writer's

perception of reality, in his personal interpretation of an artistic presentation.

This to my mind is the core problem for the marketer of creative b

writing. The writer ideally is not and should no1 be concerned with the

business side of his art. He can only write as it comes to him. Tf it sells,

then it sells. If it doesn't he still must write. And yet ironically it is by the

sales that he niust make a living. And so the marketer's duty is to bring the

two diverse and opposite sides together towards a profit. The marketer must

see that the writer's works are sold and his royalties paid.

As Cyprain Ekweiisi said at an Enugu ANA meeting "Tf the books are

not sold, there will be no royalties and s~ibsequeiitly there will be no money

10 the writers". He suggested infact that there should be graded royalties.

The more you sell, the more you should be paid. Royalties should not be

pegged at 10%. It should for instance, be 10% for the first five thousand

(5,000) copies and may be 15% for sales above that figure." (Ekwensi,

Enugu ANA ineeting) -.

In essence, for the marketer of creative writing the problem becomes

how to get the writer to write what people wish to read. How infact does the

wriier make his writing commercial? Can a marketer force the writer to

write what sells? If writing begins to follow the marketer's lead, the writer

inight find writing more of a craft? The marketer's du~ty is to ensure that the

beauty of art is not short-charged on the altar of profitmaking. A delicate b

and dificult task for everyone.

2.6 THE SPECIAL MILLIEU OF THE FEMALE CREATIVE WRITER

The female creative writer in addition to all the problems faced by

every writer has in her mirroring of her world view tlirougl~ art the function

of translating the environment fiom a woman's perspective. More often

than not, a woman has to live in a man's world. Her perception of life may

therefore be a reflection of how she sees her role in that world.

The Nigerian female creative writer like all female writers, is often

inore interested in gender-related issues. Their works revolve around a

version of feminism or better still, womanisin. They cover issues like

childlessness, extreme poverty and in-law problems, such as older women

oppressing younger woinen, wornen oppressing their co-wives or men

oppressing their wives. '.

African fernale writers are worried that children are exposed to

literature that gives negative images of girls and women. Therefore female

scholars and writers of literature decided by their writings to sensitize

society on the necessity of having different images of woinen. The aim is to

socialize children into new ways of perceiving men and women, in essence,

in the long run change existing gender relationships. "People' who will be b

adults in ten years time, who will have gone through this new female

literature will have different perceptions and images of men and women and

hopefidly create a changed and whole new generation (ANA Review 1998)

Nigeria has had and still has great female writers, they include - Zulu

Sofola, Flora Nwapa, Tfeoma Okoye, Chinwe Okechukwu, Zaynab Alkali

etc.

2.7 ANA; CREATIVE WRITERS AND THE READING CULTURE

The priinary objective of the AN A (Association of Nigerian Authors)

is the promotion of the welfare of it's meinhers as well as that of assisting

the government in promoting the reading culture and the overall literacy rate

in the country

For writers to improve their skills, they need regular writing

w&kshops as well as publicatioil outlets forfheir works. Tt is also important

for the quality of tlie membership of the association to be improved. While

it is Inie that many writers in Nigeria before 1999 were in exile, it is also

true tlmt many fine authors are shying away from joining ANA because they

believe it is an exclusive clab centred around certain personalities. There is

therefore the need to encourage genuinely motivated authors from all over

the country to join the association. The issue of prompt royalty payments, b

copyright matters and trade promotions as they affect writers also needs to

be looked into.

As for the populace, the writer wishes to mobilize, it is imperative that

the standard of' readership and the reading cillture be improved. For

instance, a German non-governmental Agency, Heinrich Roll Foundation

sponsored a programme to improve the reading culture in Kaduna. Also the

Rritish Council as well as the Ibadan based Edllcare I'rust among others are

the kind of organizatioi~s tlie ANA can work with in it's qiiest for an

improved reading culture which will invariably expand the author's

readership circle. It is also expected that in a society with an "average high

reading culture", the job of mass mobilization and discussion across the land

by writers would not only become easier, it would also set the stage for an

enduring de~nocracy and good governance (ANA Review, 1998). G.

2.8 PUBLISHING, BACKDROP TO CREATIVE WRITING

According to the Macmillan Encyclopaedia publishing refers to the

cornmission, production and distribution of books, periodicals and

newspapers.

In 1896, Sir Fredrick Macrnillan, son of tlie founder of the Firm of

Msc~nillan corn billed with other British Publishers to set up the publisher's

association, one of tlie first tasks of which was to negotiate tlie net book

agreement in 1899 which controlled the prices at which book sellers could

sell books. 'The publisher's association, abandoned tlie agreement in 1995.

Dnring the 20"' century the main innovation in the United Kingdom

and United States of America was the cheap paperback. The advent of book

clubs also expanded the market especially non-fiction.

Electronic publishing is a more recent innovation. Many books

including the Oxford English dictionary are now available 011 compact disks

and other reference books can be obtained in cassette form.

Here in Nigeria though publishing is not yet as technologically

advanced, Nigerian writers have re1 igiousl y advanced in the documen tation

of current social and cultural changes.

Through publishing the literary writer can claim more than any other

profession his great power in human li?tory and development by his

function of portraying events and happenings tlirougli poems, folktales,

novels etc.

Any nation that does not preserve it's history is as good as dead.

History whether good or bad is always beneficial to futr~re generations for

their own development. Through published literary works, we preserve not

only our history but also current events showing the failings and successes b

o f past and present generations. We infact take concrete steps to appreciate

om history, norms and traditions which we know have beairtifill rituals,

kinship networks, patronage relations and disciplines of craftmanship.

(I Jdeli, 1 999)

Publishing is really the backdrop to literature. It is the one sure way

of getting written works to as many people as possible.

Clearly the marketer of creative writing will need publishing if lie is to

achieve optimum results.

2.9 CREATIVE WRITING WITHIN THE NEW TOTAL MARKETING EFFORT

For many years the prime concern of business was production and so

the issue of marketing creative writing would be anathema since in the

"ordinary" or layman sense a piece of writing may not be called a product, a

good or a service. %

But today the emphasis in every aspect has shifted to marketing.

For Shaugnessy, marketing covers those action lines that relate the

organization to those parts of the outside world that use, buy or sell or

influmce the outputs it produces or the benefits and services it offers

(Sha~ignessy, 1992).

Clearly the above definition includes creative writing. b

In today's new total marketing effort, fi-om the point of view of

ultimate survival, it is more important to have customers than to have

something to sell to them. In other words, it is more difficult to produce

markets than products. The central activity of our modern business

enterprise is "creating markets". All other activities in the operation of the

firm are subsidiary

By the same extension, for a piece of writing to succeed it must go

straight to it's "market". It has either to recognize it's affiliate market or

create one. When creative writers create markets, the marketing of creative

writing would be assured.

CHAPTER THREE

RESEARCH DESIGN AND METHODOLOGY

3.1 SOURCES OF DATA

Two main sources of data were wed namely:- primary source and

secondary source.

SECONDARY DATA

This refers to data obtained from secondary sources.

Data used were published works like professional Journals, text b

books, Magazines, Newspapers and seminar papers. These were gathered

from tlie Nigerian National

Enngli; the IJniversity of N

book laun cli i 11 gs.

PRIMARY DATA

This refers to data

1 . OBSERVATION

Library, Enu9i; the British Council IArary,

igeria, Enng~i Campus I ,ibrary, Seminars and

obtained from original so

I visited tlie British Council library, the National library Enugu,

various secondary school libraries and bookshops to get first-hand

observation of what people read or buy to read.

3 . PERSONAL INTERVIEWS ,

This source became necessary where additioi~al clarification was

required on vital issues and where I needed support for the

conclusions I llad arrived at from my observations.

Interviews for illustration were conducted of three notable writers

resident in Enugu - Mrs Ifeoma Okoye, Mr Cyprain Ekwensi and Professor

Anezi Okoro. Also many members of ANA and some publishers here in b

Enugu were respondents as they were often too busy to complete

questionnaires.

3. QUESTIONNAIRE

The purpose of the questionnaire was primarily to collect data aimed

at testing the hypothesis made in chapter one.

3.2 POPULA'TION AND SAMPLE SIZE

The population of this study i s made up of creative writers and readers

of creative writing in Nigeria. The sample size for this study was 200 in

number.

The total number of questionnaires distributed were 200. 90 to

secondary school readers, 90 to Higher Institution readers, 20 to members of

ANA, Enugu. Of this total, 200 questionnaires were returned. 90 completed

questionnaires representing 1 00% from secondary school respondents, 90

completed questionnaires representing 1Q0% from Higher Tnstitution

respondents and 20 completed questionnaires representing 1 00% from ANA,

Enligu respondents.

The above sample selection is in agreement with the view of

Nwabuokei, (1 986) when lie said

"It is not the culture of social and behaviorlral

sciences to study whole population or universe b

disco~irse. It is rather natural that sample of

tlie poptilation is selected to represent the

entire popr~lation and it's characteristics;

hence tlie researcher is expected to describe

his sample(s) for the study

The sample population were I-aiidomly selected. Result obtained from

this sample can reliably be used to generalize the nature of the creative

writing market in Nigeria.

3.3 METHOD OF QlJESTlONNAIRE DISTRIBUTION

The questionnaire for this sfudy wqs distributed to respondents in the

following order.

Areas

Secondary SchooI Readers University Sec School UNEC

Holy Rosary College Uwani En iigir -

Federal Govt College, Enugu

Higher Institution Readers Institute of Management & Technology (M)

7E;iugu State University of Science and Technology

IJniversity of Nigeria, Enugu Campus

ANA, Enugu ANA Enugu Total

No of Questionnaire Distrib~ltcd

30

30

30

30

30

30

20 200

No of Questionnaire Rcturncd

30

30

30

30

Percentage Distribution

-

100%

b

100%

100%

100%

I 30

30

20 200

100%

100%

100% 100%

3.4 METHOD OF DATA ANALYSIS

Data collected for the purpose of tliiqstudy were analyzed through the

we of percentage and tabulation cliarts/tables. Again inferences were drawn

from the results of observations, personal oral interviews, responses from

qrrestionnaires, books, journals etc.

3.5 I~IMITATIONS OF THE STlJDY

Any research study is often a far from easy task for the researcher. In

the course of condr~cting the research for this thesis, the researcher B

encoiintered specific inhibiting faclors.

FINANCE

This was a great limiting factor in the areas of mobility and

duplicating of materials. The increasing high cost of transportation as a

result of the Nigerian file1 crisis at the tiine made it irnpossible to travel, for

instance, to Lagos a fertile ground for Nigerian creative writing. In addition,

the huge cost of duplicating materials, limited efforts in acquiring and

photostating related secondary data.

TLME FACTOR

Owing to the fact that the researcher was l~ndertaking this thesis work

within the limited tiine available and simultaneously handling normal office

work and ho~~sehold duties, it tended 10 limit the study.

CHAPTER FOUR

PRESENTATION, ANALYSIS OF DATA AND DISCUSSION OF FINDINGS

4.1 INTRODUCTION

In this chapter, the researcher tries to find out how effective marketers

of creative writing have been in getting books across to readers at affordable

prices. To determine how adversely Nigerians' lowered standard of living

has greatly reduced buying power for creative writing. To see what B

irlarketing tools have been used to sell creative writings.

On the whole 200 questionnaires were administered to three

secondary schools, three higher institutions and in addition the members of

ANA, Enugu branch. All the questionnaires were retrmed making the

response rate 100%.

Some respondents also obliged the researcher with oral interviews to

better explain some issues not clearly expressed in the questionnaire. Also

an exciting interview was condricted with Mrs lfeoma Okoye, to enable the

researcher acqnire first hand experience from a Nigerian writer.

The data collected are analyzed below with separate analysis for

relevant questions.

Firstly the table below shows the nilmber of respondents that returned

the completed questionnaires. 'r

Table 4.1 -,

n s

Response

4.2 READING HABITS

The first question relevant for the p~~rposes of this presentation

No nf -is

200 Nil 100%

I

and analysis is to know whether people: b

Perc-es 100%

Non-response Total

l ike to read, if so, what do they read - novels, poems, articles, essays

Nil 200

etc.

This question was necessary to establish what reading culture now

exists in orlr society.

If you iike to read what do you read?

Novels only I I I

m n Poems only 8 1 8.9 1 LU

Art ides only 1 I I (Newspapers 1 1 1

md magazines) - - 4 Essays only - -- 2

All of the above 42 46.7 14

I I I

Total 90 1100% 90

Tlie responses above indicate that people like to read. Most people

like to read novels, other people read mos?things so long as they find the

writing interesting. 44% of secondary school readers and 46.7% of Higher

Institution readers prefer to read tiovels. 46.7% of secondary school readers

and1 00% of Writers read everything as long as it is interesting.

4.3 READING PREFERENCES

Tlie next analysis was to find out wliicli authors are preferred - the

Nigerian authors or the foreign authors.

Table 4.3

Item

Do you Prefer

Nj geri an A U ~ ~ O T S io Foreign Authors?

I 1

Higher I % [writers

Total

Institutions 1 I Nigerian Authors -

Foreign Authors

The responses above indicate that most Nigerian readers prefer

foreign authors to local authors. 68.9% of secondary school readers; 86.7%

of Higher institution readers and st~rprisingly 60% of local writers prefer

foreign authors to Nigerian auithors.

Seco~ldary Schools

28

62

90 100%

4.4 MOTIVATIONAL FACTORS

111 an analysis of what promotional, tools or inarketing strategies are

currently i n use to ensure the sale of creative writings, the researcher can

determine what motivates a reader to brly or borrow books.

What motivates

you to buy or borrow?

The responses indicated that people buy books they can afford; books

Respon- Secondary ses Schools The book 25 cover I

37

The Author 3 1 The advertisin& 2

Total 90 I

of authors they like or are familiar with arid books with attractive covers.

People rarely buy because of book advertising, which is alrnost non-existent

in Nigeria. 64.4% of Higher Institution readers; 35.6% of Secondary school

readers buy i f the price i s affordable while 55% of authors buy books of

familiar authors. Unfortlinately only 2.2% of secondary school readers,

1 1 .I% of Higher Institution readers and 5% of writers are motivated to

purchase books as a result of advertising.

%

27.8

35 6

34.4

2.2 100%

1

Higher Institutions

3

58

19

10 90

I

4.5 THE DISTRIBUTION OF ROOKS

The next analysis was to deterrnipe how effective distribution of

creative writing has been. Do people know where to go and buy the books

they need?

Table 4.5

The responses above iiidicate that people prefer to borrow books than

to buy them. This is really cheaper for them. 55 Solo, 53 3% of secondary

school readers and Higher Institution readers respectively borrow rather than

buy. 80% of writers, 35.6% of secondary scliool readers; 3 1 .I % of Higher

Tiistituition readers do both buying and borrowing.

It em

Where Do you Get the books

C

Respon- ses Borrowing from friends Borrowing horn Bookshops A11 of the above

Total

Secondary Schools

50

- 8

32 90

%

55.5

8.9

35.5 100%

Higher Institutions

48

14

28 90

%

10

b

10

80 100%

%

53.5

15.6

3 . 100%

b i t e r s

2

2

I6 20

4.6 THE EFFECT OF THE NIGERIAN ECONOMIC CRUNCH ON BOOKS

\

Nigeria is experiencing an economic crrlnch. Nigerians have hardly any

discretionary income to spend on pleasures such as creative writing. The

next question wished to determine the truth or otlierwise of these assertions.

Ttcm Rcspon- Secondary ses Schools

Despite the general Yes 77 down turn in the economy are you still b'iiy- ing books? Total 90

% I Higher I %

The responses indicate that those who read are still reading despite the

bad economy, They task thernselves to buy books. 90%, 85.6% ; 92.2% of

secondary school, Higher Tnsti tution and writer - readers are still buying

books. Many admitted that some of the books are cornprllsory parts of their

education.

4.7 HAVE NIGERIAN WRITERS HELPED TO SELL THEIR BOOKS?

Nigerian authors niwt realize that writing is both a vocation and a

profession. They also have a duty to help get their books sold. Tt became

necessary to see whether and how Nigerian ar~tliors have lielped sell their

books arid in this way increase the readership of their works

Table 4.7

Do you think Nigeria authors have helped to sell their books and by so doing increased readership of their books?

Writers %

44.4

55.6

100%

ses

The responses indicate that Nigerian authors have made attempts

through book launchings to sell their books but Inany respondents suggest

that books sboi~ld be made cheaper. Other respondents suggested that

advertisement should immediately cornmewe to better enlighten and

educate the Nigerian public on books available for reading. 85%; 67.8% of

writers and [Jniversity student readers were convinced that Nigerian authors

have helped to sell their books. 55.6% of sccoridary school readers saw no

evidence that authors are helping to sell books to them.

Schools

Yes

No

Total

Higlicr institutions

6 1

29

90

40

50

90

YO

67.8

32.2

loo?

4.8 HOW HAVE PIJB1,ISHERS CONTRIR1 JTED . TO THE BOOK INDUSTRY?

According to Mr Dan Chima Amadi, ~resihent ANA Enugrl Chapter in his

address st the 1999 World Rook Day held at the British Council, there are

three key segments in the book industry - the author, the publisher and the

reader.

"Although the author plays a key role in conception and formulation,

the publisher lets his ideas see the light of day while the reader ensures

contin~lity by digesting what has been produced and so it gets implantell in

the minds of the public. Three key points . . . . it is therefore important that

each unit sees itself as a complimentary one, a necessary compass to steer

the other two".

To analyze the marketing of creative writing, it became necessary to

x-ray the publishers contribution to same.

Table 4.8

Item

Have Publishers In Nigeria contributed to creative writing?

Most respondents feel that pu~blisliers have not done enough. They

should improve their contribution. They slionld reduce the scarcity of

newsprint so that tlie price of books can come down. Puiblisliers mist

contribute to improving the reading culture. Mr Asomnglia, publisher of

AHlC Rooks, suggested at the 1999 World Hook Day, that in addition to the

wrifer and reader, the publisher must co-opt tlie librarian and the bookseller.

[Jltirnately a sure way of getting people to buy books is to get them to read

mole. 84.4%, 62.2% and 60% of secondary school readers, Higher b

Institution readers and writers all agreed that Publishers must do snore than

they are doing now.

4.9 THE FEMALE WRITER - CASE STUOY OF MXS IFIEOMA OKOY E

Mrs lfeolna Okoye, a senior lecturer of tlie Department of English at

the Nnaindi Azikiwe University, Awka, graduated with honours in English

from the University of Nigeria, Nsukka in 1977. She went back to the Aston

IJniversity, Rriininghain England for a Masters Depee in Teaching English

for specific purposes in 1 987.

She has written many text books for primary, secondary and tertiary

institutions and has delivered countless seminar papers. Listed below is a

syriopsis of novels, children's books, short stories she has written and

Academic and Creative awards she has received for these:

NOVELS

Men Without Ears - Imngman 1984 -. b.

Behind the Clouds - Tmndon, Tmngman 1983 -

The Village Roy - Ibadan, Macmillan, 1978

Chimere - Iagos, 1,onginan Nigeria I,imited, 1992

CHILDREN'S BOOKS

No School for Eze: Enugu, Fourth Dimension Publishers, 1980

No Snpper for Eze: Enugu, Fourth Dimension Publishers, 1980 b

Onlv Bread for Eze: Enugu, Fourth Dimension Publishers, 1980

Eze Goes to School: Eougu, Flora Nwapa & Co, 1980

'The Adventures of Tulu the Monkey: Enugu, Flora Nwapa Rr. Co, 1980

Chika's House: Oxford, Heinemann, 1995 (Translated into Kiswahili and

Ndebele

Ayo and His Penal: Oxford, Heinemann, 1995 (Tranlated into Kiswahili,

Ndebele and Shona)

SHORT STORIES

"Waiting for a Son" - The Co~nmonwealth

Award for Short Story

Writing, 1999

"The Pay Packet in Touch Stone" - Tlie Heinemann Rook of

., African Women Writing"

Oxford, Heinernann

International literature

And Textbooks, 1993

"The Power of a Plate of Rice - In "Breaking the

Silence", An Anthology

Of short stories by b

Women writers of

Nigeria (Editors - Toyin

Adewale - Nduka and

Oinowumi Segun, 1996)

AWARDS

ACADEMIC

1 . - Hornby Education Trust Award, U.K, 1986

2. - British Council Award to attend English 1 ,an guage Studies Seminar at

Cambridge in 1985, based on outstanding creative Work.

3. - University Foundation Award for exceptional Academic performance,

University of Nigeria, 1975.

CREATIVE

1 . Cornmoilwealth Short Story Award 1999

2. Rest Novelist of tlie year Award, 1985, by Association of Nigerian

Authors ( ANA)

3. - Ife Rook Fair Award for children's literatrlre, 1985

4. National Festival of Arts and Cultw-e Award for children's literature,

5 . National Festival for Arts and Culture Award for Novel writing, 1983 b

6 . Winner, Macmillan Children's I heratwe prize, 1978.

4.10 INTERVIEW - MRS lFEOMA OKOY E

QU-ESTION 1 What problems have you encountered as a writer?

ANSWER 1 have had no problems with publishing. All my works have

been published apart from one novel written about the war.

"I have an indigenous publisher that has not treated me well. They

did not pay royalties due to me, despite evidence that the books were selling.

1 szw the books in Birmingham and 1,ondon.

"I saw a vendor who told me the books had been giving him his

livelihood and yet I never got my share of tlie money. They kept claiming

they will pay royalty and yet they never sent any thing.

"1 liad a contract problem once. 1 signed a contract without realizing

that 'a vital clause was ~nissing. At tliat time 1 had about fifteen (15) 4

'The missing clar~se was about the book being out of print. If the

writer notices that the books are not in booksliops, the writer has the right to

ask tliat the books be re-printed. If after a while, lie/slie still does not notice

the books in the market he/slie can terminate the coiitract.

"For this particular publishing company, they had stopped printing my B

book and I had an offer to re-issue the books. 1 sent them a registered ]nail

arid tliey did riot reply. Writers should beware.

QUESTTON 2 A - Any special problems as a writer'?

ANSWER - "Writing is an act of faith. It is what the pnblishers say that

tliey have sold that the writers will have to accept. Writers who are

breaking-even are publishing themselves and selling to their students.

OUESTlON 2B As a Female writer?

ANSWER - Although manuscripts are not considered on male or female

basis, it's still a man's world so more male writers are reviewed.

"My husband was a very liberal man and believed in feminism. He

was also a well-known writer. He encouraged me to finish a lot of my

works.. . lie was a pliilosoplier who understood about self-actr~alization and

self-esteem". -. t .

"A female writer has a difficult time, in addition to the husband,

children, the hot~se to look after, she also tries to bold down a job. All these

are time consuming and energy sapping. That is why inale writers have all

the time to write. Consider also that woinen have more social outings than

1nen.

QUESTION 3 Are you able to make a living Just writing? B

ANSWER - Many Nigerian writers do not make a livi~lg writing.

Nigerians don't have a reading culture to be proud of. 1 don't know of any

writer in Nigeria who does not work.

In 1995 1 attended a workshop in Cambridge where many writers of

just one book were only writers.

'The government and other institutions give grants in the United

Kingdom for instance, here in Nigeria not at all.

I do not know of any writer who lives only on his books".

OU ESTION 4 - How is the creative book market organized in Nigeria?

ANSWER - "You ejtl~er give it to a publisher to publish or you publish the P

works yourself.

Some publishers share the cost of publishing with you. Personally, T

have never self prblisl~ed". -. h.

C)I.FSTION 5 - How do the pllblisliers market your books?

ANSWER - "They have representatives in regions, who go to schools to

convince teachers and strrdents to buy the books. 'rhey also go to bookfairs

and ministries to get the books to be government - recommended".

W E S T ION 6 - Where have you found a greater percentage of readers?

ANSWER - "1 have found them among "pleasure" readers. All my three 4

novels are being read in the Universities, like University of Lagos. Also

"The Village Roy" was a text book in federal government colleges for

sometime.

QLJJESTION 7 - Do you think there is need to improve the marketing

strategies currently employed in creative writing in Nigeria? Comment on

the state of the Nigerian Creative Writing market?

ANSWER - There i s a great need. They are not exploring many avenues

being used abroad. Rook clubs, book advertisement, hook reviews etc

should be encouraged to improve the state of the Nigerian creative writing

market.

9UESTION 8 - Can you comment on the integrity of the publisher and the

pirating of his works?

ANSWER - The publishers also contribute to piracy. People pirate books

that are difficult to find. This i s how they ~ucceed. The pirating law is not '. enforced. The delay in the justice system makes it impossible to persecute.

QIJESTlON 9 - As a writer, can you share some of your experiences as

regards the marketing of your works'?

ANSWER - I have had the closest relationship with 1,ongman publishers.

On two occasions one of their Editors came firom Harlow to see me in

London. b

The first Calabar conference I went to, I was sponsored by Longman.

They sent a car and a driver, they found a hotel and paid the bill. They had

someone look after me.

When 1 lost my husband they bronght a purse. They were the only

publishers.

TEST OF HYPOTHESIS

' HYPOTHESIS 1 -.

Creative writing is poorly marketed here in Nigeria.

Table 4.1 I

With 66.7% yes and 72.2% yes from secondary scl~ools and higher

institutions respondents, it can be deduced that these level of respondents

agree that literary works are not well advertised and promoted. In

agreement, 75% of writers are of the opinion that Nigerian creative writers

are poorly marketed. They felt the prohibitive cost of paper and the resultant

high cost of Nigerian books compared to better quality of foreign books

made their works unmarketable.

33.3% of Secondary school readers, 27.8% of higher institution

respondents and 25% of writers who disagreed, felt that by the book

llni t

-- Secondary Sr,l~ools

Higher lirstitutions

El

Respondents

90

90

20

Natureof Respond- ents Yes No

% o f y e s

66.796 60

%ofNo I

33.3% 30

27 3%

25%

65

15

25 I 72.2?,$

5 75%

launchings and by forcing their books into the scliool curric~dtnn, Nigerian

creative writers are being patronized. ..

4.2 I1Y POTIIESIS 11

'There is a huge readership for creative writings and yet Nigerian

writers are not being read.

With 88.9%, 94.4% and 60% yes respectively; secondary school

respondents, higher institution respondents and writer respondents are

allnost unanimous in their beliefs that Nigerian readers read a lot of foreign

autlrors to the detriment of the Nigerian authors. They posited that Nigerian

writers should write less local and cidt ural themes and Inore universal

themes that can appeal to everyone.

Table 4.12 Urd

Secondary Scl?ools

f ligher Institutions

ANA, Ettugu

Respondents

90

90

20

% of No

b

11.1%

5.6%

40%

% of Y e s

88.?4

94.4%

60%

Nature of Respond- ents Yes No

80

85

12

!C)

5

On

45

The negligible percentages of 1 1 . 1 % and 5.6% of students felt that

~i'geriaiis like to read Nigerian hooks. .,

40% of the writers are convinced that Nigerian writers are being read.

They cited Achebe, Soyinka, Okoye, Giinba, Munonye, Ekwensi etc in their

verbal responses.

4.13 HYPOTHESIS111

- Female creative writers are faced with peculiar marketing problems.

A large percentage of secondary school readers - 88.9% insisted that

'able 4.1 3

to the best of their knowledge, they were unaware that female creative

Unit

Secondary Schoo!s

Higher Institutions

ANA, Enugu

writers have any peculiar problems. Contrarily 1 1 . 1 % of secondary school

respondents, 72.2% of higher institution and 95% of ANA Enugu

Respondents

90

90

20

respondents asserted quite strongly that in the business of writing women

Nature of Responcl- ents Yes No

% of Yes

11 .lOh

72.2?4

95%

10

65

19

% of Nob

88.9%

27.8%

5%

80

25

1

were disadvantaged. They liad to contend with domestic cl~ores, taking care

ofthe family, a job etc and all these stole into the time they needed to write. <

But they all did agree that a committed writer will find time to write

and that very few Imsbands prevent their wives from writing.

CHAPTM FIVE

SUMMARY OF FINDINGS, CONCLlJSION AND RECOMMENDATIONS -

5.1 SUMMARY OF FINDINGS

As a result of the survey conducted, the following - findings were

made. b

The researcher establishecl that creative writing is poorly marketed

here in Nigeria. 'I'lie result is that altholrgli many Nigerians are in the

business of writing, they are not making enough sales to make a living. This

- also means that Nigerian books are not getting to Nigerian readers.

It was also established that there is a readership for creative writing or

what Mrs Ifeoina Okoye calls "pleasiire" readers, who read a lot of foreign

authors. more importantly, the reading culture in Nigeria is not one to be

proud of; this inearis that unlike in the United Kingdom or United States of

America, Nigerian writers "work". No Nigerian writer can claim to be only

a writer because although some of their books are being read, the sales

vohiine is not enough to make a living. -

Another finding established that although female writers liave peculiar

pr6blem as females, it neither hinders creqtiviity, nor makes their works

worse than those of their male counterparts. Altliollgli it was established that

male writers liave more time to write unlike (he female writers who in

addition to taking care of the husband, children and the house have to hold

down jobs. These energy sapping and time consuming activities does leave

the female writer less time to sit down and write.

5.2 CONCLUSIONS b

Modem marketing calls for more than developing good products and

services, pricing them attractively and making them accessible to target

I n the current marketing environment the business now is selling

excitement rather than the product. Advertising has proved to be very

effective in achieving this purpose.

The Nigerian writer, male or female, must get involved in the

marketing of his works. He or she must get concerned with a more

aggressive and modem advertising strategy aimed at developing a more

reader fiiendly ciilti~re in Nigeria so that ultimately he will build up more

readership for his works.

Writing, according to Mr Dan Chima Alnadi "is a chance find but

only effort and peat talent can bring the wjiter among the very best where 4

he blends culture and myth, realism and grace and where the writer forever

inundates the climate of a lonely plain by his meaningful dramatization of

life .. For the Nigerian writer, as he tries to whether the storm in a depressed

economy, only conscious effort of the government, the understanding of the

publishers and the private sector can save the book industry" (World Rook

Day, 1999).

5.3 RECOMMENDATIONS

In the light of the findings resulting in the course of writing this thesis,

the writer deduces the following recommerdations that will help in

improving the marketing of creative writing in Nigeria.

BOOK CLUBS

These clubs abound overseas. They encourage members to read by

getting books at reduced prices from publishers and sell at reduced prices to

members. One of the by-laws of the club, may be that each member must

buy one book every month.

READING CORNERS

Parents and schools shodd be encor~raged to have reading corners,

where the youth can retire in peace and read. This is especially important in

niral areas where more and Inore yomig people are reading less and less

because of the high cost of locally publisked books and lack of readers

space. If children read inore, inore books will be sold.

BOOK COMPETITIONS

Competitions shoi~ld be organized by pi~blishers, this will imnprove

both writing and reading. Maclnillan used to (organize these competitions

for books under their pace setter series. b

PUBLISHING

(a) From the publisher's perspective, i t must be admitted that

people pirate books that are difficult to find. Since the piracy

laws are not effectively enforced and since our jilstice system is

notoriody slow, publishers must pnblish large copies of books

to prevent scarcity.

(b) From the writer's perspective, it has become necessary for the

writer to be involved in conception, writing, editing, publication

and sales of his books. The writer hawks his books or they

remain with him.

In addition, writers must carefrilly read contracts before they

sign. Some duhiorls prlblisliers,deliberately delete vital clames

and put the writers at economic disadvantage. -

For instance, according to Mrs lfeoina Okoye there is a clause

that empowers a writer to deinancl reprinting of his books after

a stated interval if lie no longer sees his books in the market. A

Frauddent publisher by deleting this clause, will stop printing

and refuse to allow another pr~blisher re-issue the books. b

Some other publishers deliberately refilse to pay royalties and so the

writer never gets his share of the money. Writers under ANA must unite and

fighi such injustices under the law.

These problems associated with the publishing of books, has

drastically affected creativity, as the few Nigerian creative books being

published have remained spiders' delight in hook stores and warehouses and

as a result have totally ruined the Nigerian education sector.

BOOK REVIEWS

Book reviews should be commissioned for new books. Even old

books should be reviewed. Reviews help to br~dd reader's interest in books.

BOOK ADVERTISEMENT - Further to my view in the conclusion^, advertisement must grow more

4

exciting and aggressive for writers as it has in the Nigerian movie industry.

This is vital to improve the marketing of the Nigerian creative writing

industry.

GOVERNMENT

The Nigerian government must urgently look into the problems of

books in the coiintry in order to improve both the reading culture, and the b

literacy rate. The Minister of Edi~cation tniist aid publishers and writers to

reduce the high cost of locally published hooks and publishing materials

through "tariffs" on the raw materials that go into the publishing industty".

Government must establish more pr~blic libraries for the benefit of the

Nigerian people.

Furthermore, as custodians of the nation's cliltural heritage through

literature, government, mist provide that conducive environment for writers

"to practice their craft" and assist them in the promotion of indigenous

literature by 'providing grants for workshops and literary prizes".

(Oladeinde, ANA Review, 1999)

APPENDIX 1 '.

Please tick [ J or write as applicable against the options or spaces that you

think best answer(s) the question(s) below. You may tick more than one or

attach your own extra sheet if need be.

FOR READERS

Sex - Female [ J Male [ ]

Age -- Minor 1 ] Adult [ ]

Marital status - Single [ ] Married ]

Do you like to read? Yes [ 1 No ]

What do you read - Novels [ ] Poems [ ] Articles [ ]

Essays J All ofthe above [ ] None of the above [ ]

Do you read Nigerian authors? Yes ] No [ ]

Which ones? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ..

Do youprefer them to foreign writers Yes [ ]I No [ ]

Where do you get the books you read?

a. By borrowing from friends [ ]

b. Ry buying from booksliops [ ] c. All of the above [ ]

What motivates you to buy or borrow a hook?

c. The author [ ] d. The advertising [ ]

Have you an idea where to buy whatever books you may need, that is

where to buy books from? Yes [ 1 No [ ]

Where exactly . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Despite the general down turn in the economy, are you still buying

books? Yes [ ] No [ J 4

Do you think Nigerian authors have helped to sell their books?

Yes J ] No [ ]

............................................................... Please explain

Suggest how Nigerian authors can increase the readership of their

works

........................ How have pblishers contributed to these writings

Do you think writers in Nigeria are well-to-do? Yes [ ] No [ ]

........................................................................ If no why

As a writer, how can a writer make a living from his works? ..................................................................................... Do you think Nigerian female writers have any special problems?

.....................................................................................

FOR WRITERS

INTERVIEW OF MRS IFEOMA OKOYE

APPENDIX 11

1 .

2.

3 .

4.

5 .

ti.

7.

8.

9.

10.

What problems have you encountered as a writer?

Any special problems as a female writer?

Are you able to make a living just writing?

History - Personal data

Number of published works and names

How is the creative book inarket organized in Nigeria?

How do the publishers inarket your books?

Where have you found a greater percentage of readers?

Do you think there is need to improve the marketing strategies

ciirrently employed in creative writing in Nigeria? - comment on the

state of the Nigerian creative writing market?

Can you comment on the integ~ity of the piiblisher and the pirating of

his works?

As a writer can you share some of your experiences as regards the

marketing of your works?

AIMS AND OBJECTlVES OF ANA

APPENDIX IV -. \

1.

. . 11.

... 111.

iv.

v.

vi .

vii.

. . , Vlll

To encourage and promote Nigerian Writers

To encourage the collection, recording and transcription OF the oral

literatr~res of Nigeria, and to make thcse literatures available to the

public through translation from the original languages

To pro~note the interest of authors in all that concerns their profession

and well being and protect their rights as authors b

To encourage the commitment of authors to the ideas of a llumane and

egalitarian society

To co-operate with other organizations i n Nigeria, African and else

where, which share similar aims and aspirations

To liase with all organizations established for the promotion and

development of the book industry throughout the country.

To stimulate and develop indigenous talent, skill and intellectual

powers.

To promote solidarity among Nigerian authors.

BIBLIOGRAPHY

AMIJTA CHID1

RARRAT MICHAEL

RAYI.EY JOHN

HOI ,'I' DAVlD

BLAKEN F

BUTTS DENNISCED)

COLJ.,INS THESAURUS

DAWKINS RICHARD

DIlNTON CHRIS

'I'he Theory, of Afiican Literature - I~nplications for Practical Criticism, 1989, ZED Rooks Limited

"Making The Most of The Media, Kogan Page Limited, Lodon

"TAShort Story - He~y-~~..Ta~nes to Elizabeth ~owei l , 1988, The Ilarvester Press Limited

An Autliors Handbook, 1986, Judy Patkins ----- --+---

Publishers Ltd, London b

An Introduction To The 1,anguage of Literature, 1 990, ?JIacmi!!an Educztion Ltd

Stories And Society 1992, Maclnillan

The Cambridge Concise Encyclopedia, 1992, Cambridge University Press.

The Concise Oxford Dictionary of Literary Tenns, 1 990, Oxfsrd C'nivcrsity Press

I 995, Harper Collins Pnblishing

"Clilnbing Mount Improbable"? 1996, Penguin Books

A Dictionary of Modern Critical Terms, 1987

&w-Persnecji.ves--on Afi-kan Literature Make Man Talk True - Nigerian Drama in English Since 1970, 1992, Hans Zell Publishers

FAIRFAX JOHN

FORSYTH PARTTCK WITH ROBIN BIRN

GEFFROY K EDGAR

GIRRS JAMES

GRF,GOKY C TAN & SIMON B RAWLINGS

HAL PERN DANIEL

JANNER GRF:VII,I,F<

w i v e W r i t b , 1989, Elm Tree Rooks Limited

'1.

Marketing In ~ublishing, 1997, Routledge

200 Ways To Better Selling, 1989, Gower Publishing Co

:The-Ar-t (rf Creating Fictiio~i7', 1989, Maclnillan Academic & Professional Ltd

"A Handbook for African Writers", 1986, Tlans Zell Pub1isl:ers

b =fit From Tiing, 1 997, Macmillan Press Ltd

The Guiness Rook of Records, 1998, 1997, Guiness ?ublishi~:g Ltd

"The Art of The Tale: An International Anthology of Short Stories, 1945 - 85, 1987, Viking

"Janner On Presentation, 1 989, Market Ilouse Books Ltd

The Maclnillan Encyclopedia, 1 996, Market I louse Books Ltd

International market in^ 1 994, Cecta (Nigeriz) Limited

Studying Creative Writing, 1 99 1, Merlin Books Ltd

Competitive Marketing - A Strategic Approach, 1992, Rodedge

AMADl DAN CHIMA (President AN A, ENIIGU)

UDEH JOHN JP (AREA DIRECTOR BRI'TTSH COIJNCII,

b- ENI-JGU)

OF WOMANISM & BEARDED NrQ?AEN

.OLADEINDE STNA

Address At %World Rook Day Celebration 011 23!4/99 At E11:rga Eritish Council

Address At I mncliing of Three Rooks by Dr Christians Okechrlkwrr on 8/1/99

Marketing of Pharmaceutical Products in a Dwindling Eco:.rcmy (Nigerian Jourczl of Marketing - A publication of the Department of Marketing University of Nigeria, Enugu Campirs)

b

An Interview of Chikwenye Okonjo Bgm y erni a:d V!mJ ira ?,",:itllct:i b q 7 Susm Ardnt (ANA Review - October - December 1998)

The Writer In Times IAce This (ANA Review - October - December, 1998, P.27)

Reduce Tariffs on book publishing - Writers Tell FG (ANA Review - October-December 1999, P.1)