Writers seek brighter prospects in creative economy.

A cross section of participants at the symposium

At the 2013 Port Harcourt Book Festival, writers discuss how to maximise the creative economy, writes CHUX OHAI
One of the highlights of the recently concluded 2013 Port Harcourt Book Festival was a symposium was woven around the theme, Literature and the creative economy. Obviously the organisers of the event were concerned about transforming writing to a viable and income-generating vocation. The target was that writers, publishers, booksellers, readers and other stakeholders would in the end begin to think of what steps or measures to take to ensure that literature become an effective tool for economic growth in the country.


A keynote address delivered by a former minister of education, Dr. Oby Ezekwesili, set the tone for the discussion.

Defining the creative economy as the “sum of economic activity arising from a highly educated segment of the workforce comprising a wide variety of creative individuals,” Ezekwesili said that though the relationship between literature and other creative industries was not obvious, they were linked in some ways.

“When, as they are often wont to do, writers take on subjects like wealth and poverty, income and inheritance, labour and capital through a prosaic, romantic or tragic rendition of the journey of their protagonist, they in fact call for a debate on how much we lose by not maximising what literature can offer in the journey to build more inclusive and equitable societies.

“The good news is that Nigeria seems to have woken to the viability of the creative industries. The emergent creative industries of Nigeria in the film and music industry, in particular, happened strictly through the grit and talent of forces outside of government. If there was any sector that introduced a more diverse narrative about Nigeria to the world, it is the creative economy,” she said.

She urged Nigerian writers to “leverage” their achievements on the literary scene as a source of strength, saying that social change, resuscitation of values and real economic transformation happen much faster in societies where writers quit hiding behind literature and elitist behaviour.

Ezekwesili expressed the opinion that writers and other creative individuals would benefit from the competence and character with which literature helps to accelerate the profile, stature and value of creative economies.

Noting that literature could impact on the creative economy in many ways, she said, “Writers can leverage their goodwill with the broader society to amplify the voice of citizens. A collective led by writers who are well connected to those issues, which assail the broader society, can actually help build the culture of public debate and citizens’ demand for good governance.

“A backward or forward integration of writers’ solid content with the mass reach of musicians, actors and actresses can in turn produce formidable policy entrepreneurs. Such advocates for sound policies can facilitate the quick ascent of the creative economy to the top of public agenda. Partnership can only lead to a race to the top for all sides or a rising of standards and quality.

“Writers can help shape and drive the kind of intellectual engagement that their broader industry, the rest of the economy and government should regularly have to determine the general direction of economic management. By collaborating and cooperating with the rest of the creative economy, the producers of literature will help enlarge the value proposition of their industry in which everyone benefits along the value chain.”

Ezekwesili ended her speech by advising members of the literary community to shrug off the toga of elitism and fully embrace their colleagues in other creative industries.

“You must no longer be distant in your relationship with film and music industries and even others like fashion and technology. They are no poorer cousins of your noble vocation. Collaboration within your sector offers a win-win prospect,” she said. Failure to do so meant that the goal of achieving mutually beneficial partnerships with other creative industries would be defeated.

Moderated writer, journalist and now Special Assistant to the Presidency on Documentation, Molara Wood, the symposium attempted to examine some of the major issues raised in the former minister’s keynote address. In their responses, the panel of discussants noted that the time had come for writers to seek better rewards for their labour.

One of the panelists, Obari Gomba, urged writers not to see their vocation as incapable of generating wealth. “Writers must begin to pursue profitability in what they do. They must stop believing that writing is associated with poverty. Henceforth, I will insist on signing a contract before writing or doing anything for other people,” he said.

While visiting Kenyan writer, Binyavanga Wainana, advised members of the literary community to brace themselves for change and to seek new platforms to make the content of their works available to more people, award-winning novelist, Chika Unigwe, argued that the provision of government subsidies would help in improving the quality of literature produced in Nigeria.

“Subsiding literature means paying writers so that they can afford to write full-time. There is nothing romantic about poverty. I have benefitted from government subsidy. It enabled me to concentrate on my work without thinking about when and where the next meal will come from,” she said.

On how writers could maximise the creative economy for the benefit of the society, Ayodele Ayeni, who is also a writer and lawyer, noted that literature occupied a fundamental position in a creative economy. He said that since the development of the human mind was essential to social development, it was imperative that literature should drive the economy and writers should start seeing themselves as entrepreneurs.

“As pointed out by the keynote speaker, there is no longer a disconnection between literature and economics. So, writers need to understand how to make money with their works. They need to own and protect their property. They need to understand how valuable it is enough to protect it. But government can help us in this direction by fighting piracy effectively,” he said.

The event ended with a promise by Governor Rotimi Amaechi of Rivers State to embark on the construction of a modern facility for creative writers.

“We are building a Creative Village at present and it is going to cost N3bn. In the village, there will be a public library, a theatre and a cafe, among other facilities,” he said.

Amaechi said the public library is part of the government’s effort to promote the reading culture in the state, adding that Shell had promised to contribute to the funding of the project.