university of nigeria chinyere_ n_1999_2039… · appendix 1 1 - sample of oral lnterview appendix...
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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)