{"id":4096,"date":"2025-11-12T18:34:08","date_gmt":"2025-11-12T18:34:08","guid":{"rendered":"https:\/\/writercosmos.com\/blog\/?p=4096"},"modified":"2025-11-12T18:34:08","modified_gmt":"2025-11-12T18:34:08","slug":"african-publishing-industry-faces-wakanda-problem-during-growth-phase","status":"publish","type":"post","link":"https:\/\/www.writercosmos.com\/blog\/african-publishing-industry-faces-wakanda-problem-during-growth-phase\/","title":{"rendered":"African Publishing Industry Faces \u2018Wakanda Problem\u2019 During Growth Phase"},"content":{"rendered":"

Exploring the Depths of Africa’s Literary Diversity<\/span><\/h1>\n

As African publishers strengthen their own literary ecosystems, they continue to challenge a persistent misconception \u2014 the tendency of international audiences to view Africa as a single, monolithic entity.<\/span><\/p>\n

Speaking at the Sharjah Publishers Conference, Eghosa Imasuen, Executive Director of Narrative Landscape Press in Lagos, said Western portrayals often homogenize African voices. \u201cWhen you listen to Western-produced audiobooks set in Africa, everyone suddenly sounds like they\u2019re from Wakanda,\u201d he remarked, referencing the fictional kingdom from Black Panther. \u201cNo one actually speaks like that on the continent.\u201d<\/span><\/p>\n

This so-called \u201cWakanda problem\u201d extends far beyond accents. According to Imasuen, it reflects how African stories are often curated to fit foreign expectations rather than authentic local realities. Many publishers now reject that approach, emphasizing the continent\u2019s diversity by creating content for domestic and regional readers rather than tailoring books for the Western market.<\/span><\/p>\n

\u201cIt was once fashionable to say, \u2018I don\u2019t read Nigerian books,\u2019\u201d Imasuen added. \u201cNow, it\u2019s the opposite\u2014people proudly say, \u2018I don\u2019t read American books.\u2019\u201d<\/span><\/p>\n

Building a Local-First Literary Market<\/span><\/h2>\n

Ainehi Edoro is the founder of Brittle paper and professor at University of Wisconsin Madison. She led the workshop in Sharjah, entitled “Inside the African Literary Market – What Global Publishers need to Know.” Drawing on UNESCO\u2019s recent study of African publishing, Edoro emphasized that a focus on local readers has transformed the industry.<\/span><\/p>\n

\u201cPublishers today are saying, \u2018I write for Nigerians, for Kenyans, for Ghanaians,\u2019\u201d Edoro explained. \u201cThat shift has significantly improved storytelling quality.\u201d<\/span><\/p>\n

She believes Africa\u2019s literary ecosystem is entering a new phase of maturity after decades of groundwork. However, structural and economic barriers still slow its progress.<\/span><\/p>\n

Infrastructure and Economic Barriers<\/span><\/h2>\n

Despite the creativity fueling the market, African publishers continue to face logistical hurdles. The continent lacks robust distribution networks, libraries, and retail systems comparable to those in developed markets.<\/span><\/p>\n

Edoro stated that in Nigeria, selling 5,000 copies is like sweating blood. Local production is often too expensive for publishers, who are forced to print in China and India.<\/span><\/p>\n

The industry also faces talent shortages. The 2014 Ebola crisis and later the COVID-19 pandemic disrupted publishing houses and changed how teams collaborate. \u201cWe\u2019re doing so much of our work on Zoom now,\u201d Imasuen noted, adding that this shift has limited opportunities for mentorship and skill development.<\/span><\/p>\n

On top of that, inconsistent tariff policies have hurt the industry. Although cultural goods should be exempt under the 1950 Florence Agreement, several African governments still impose taxes. Ethiopia once levied a 36% tariff on books, while Nigeria has arbitrarily added taxes based on political changes. \u201cCustoms would classify everything\u2014fiction, essays, even speeches\u2014as \u2018educational printed books,\u2019 just to charge extra,\u201d Imasuen recalled.<\/span><\/p>\n

These practices have fueled piracy, making counterfeit books cheaper and easier to access than legitimate editions.<\/span><\/p>\n

Piracy and the Rise of Counterfeit Books<\/span><\/h2>\n

Piracy, both physical and digital, remains a pressing concern. Imasuen revealed that when Femi Otedola\u2019s autobiography, Making It Big, was released in August 2025, it became the publisher\u2019s best-selling title with 45,000 copies sold. But before its official release, dozens of fake versions appeared on Amazon Kindle, including unauthorized French translations.<\/span><\/p>\n

\u201cAt some point, we just gave up fighting,\u201d Imasuen admitted. \u201cPeople see piracy as harmless because no one gets killed\u2014they don\u2019t realize it\u2019s killing our industry.\u201d<\/span><\/p>\n

To combat this, African publishers are now forming cross-border partnerships to strengthen rights management. \u201cWe\u2019re sharing licenses between countries,\u201d he said. \u201cKenya prints for Nigeria, Nigeria prints for Ghana\u2014we\u2019re creating an equatorial publishing network.\u201d<\/span><\/p>\n

New Trade Systems and Financial Innovations<\/span><\/h2>\n

The coming African Continental Free Trade Area (AfCFTA), launching in 2026, and the Pan-African Payment System are expected to ease cross-border publishing. These frameworks will allow direct transactions without relying on foreign banking systems like SWIFT.<\/span><\/p>\n

Countries such as Nigeria and Kenya have also passed laws to securitize intellectual property, theoretically enabling publishers to use book rights as financial assets. However, implementation remains slow due to limited regulation and expertise.<\/span><\/p>\n

Expanding Horizons: Audiobooks and Global Collaborations<\/span><\/h2>\n

African publishers are also diversifying their offerings. Narrative Landscape Press recently launched its first audiobook \u2014 Dream Count by Chimamanda Ngozi Adichie \u2014 produced in partnership with Genti Audio, a local studio. The company has also established a literary and scouting agency to connect African stories with European publishers and film producers.<\/span><\/p>\n

Still, Edoro cautioned that global recognition should not obscure the diversity within African publishing. \u201cThe world often assumes we\u2019re tied only to the U.K. or U.S.,\u201d she said. \u201cBut there are thriving French, Portuguese, and indigenous-language markets that deserve equal attention.\u201d<\/span><\/p>\n

She urged international publishers to look beyond the dominant players like Nigeria, Kenya, and South Africa, and to explore emerging markets supported by the African Publishers Network.<\/span><\/p>\n

A Confident Literary Future<\/span><\/h2>\n

Despite challenges, African publishers remain optimistic. New companies such as Masobe Books, founded in Lagos in 2017, have published hundreds of titles, nurturing both writers and readers. The name Masobe, meaning \u201cLet Us Read\u201d in the Isoko language, perfectly captures this movement\u2019s spirit.<\/span><\/p>\n

\u201cThe era of explaining ourselves to Western readers is over,\u201d Imasuen said. \u201cOur authors now focus on authenticity \u2014 telling their stories truthfully for African readers. If the story is powerful enough, the world will make the effort to understand it.\u201d<\/span><\/p>\n

Start Your Publishing Journey with WriterCosmos Today!<\/b><\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

Exploring the Depths of Africa’s Literary Diversity As African publishers strengthen their own literary ecosystems, they continue to challenge a 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