The 2024 African Small Publishers Catalogue has been released by Modjaji Books. Read Jessie Cooper’s essay ‘Self-publishing: A Real Choice for Writers’, excerpted from the book.
2024 African Small Publishers Catalogue
Edited by Colleen Higgs, Cassandra Scheepers and Jessie Cooper
Modjaji Books, 2024
Self-publishing: A Real Choice for Writers
by Jessie Cooper
Picture this: You’ve poured your heart and soul into a novel, only to face a barrage of rejections from traditional publishers. Sounds like a dead end, right? Not anymore. The past ten years have seen self-publishing turning the tables on how the publishing world works.
Some examples. Jackie Phamotse’s best-selling series BARE found its audience through self-publishing after notable publishing houses showed her the door. After too many rejections threatened to crush Tanya Meeson’s spirit, she decided to take matters into her own hands and self-publish her debut novel, The Fulcrum. It became her way of preserving her ‘mental, spiritual, and emotional health’. Dudu Busani-Dube found bookstores clamouring for her self-published Hlomu series. The series eventually sold in the tens of thousands, a massive feat in South Africa for any book, let alone a self-published one.
But it’s not just about bouncing back from rejection. Some authors, like Fiona Snyckers, have chosen to dive into self-publishing despite success with four traditionally published novels. Snyckers felt the itch to try something new. ‘I have always had more stories in my head than a traditional publisher could keep up with,’ she explains. It’s this freedom and pace that draws many writers to the self-publishing path.
Self-publishing can be like being handed the keys to your own literary kingdom. You’re the boss of everything—from the words on the page to the font on the cover. This control extends to your copyright, which is a big deal in an age where a book could become the next binge-worthy TV series. Self-publishing means you’re not just the creative genius behind the story; you’re also the CEO, project manager, marketing department and distribution centre of your one-person publishing house.
It’s also a crash course in the publishing industry, so it’s not for everybody. You’ll no longer have an experienced publisher advocating means for your book, and it can be tough to be your own advocate and promoter. You might find yourself making newbie mistakes. You might have blind spots about the editing or packaging of your book. The discounts of around 40% that bookstores demand could force you to rethink your pricing. Many self-published authors, in a rush of enthusiasm and blind trust, have found themselves left with a garage full of boxes of books they will struggle to sell. Getting reviews can be tougher than convincing a cat to take a bath, and you might find the shelves of major bookstores closed to you unless you do a lot of legwork and research.
There’s also the stigma of not being ‘good enough’ or ‘vanity publishing’. Many literary awards exclude self-published work, many book festivals might not invite self-published authors. But don’t let this scare you off. The self-publishing world is shaking off its stigmas and evolving, with more options than ever.
Modjaji publisher Colleen Higgs runs a separate imprint called Hands-On Books, which offers what she calls ‘assisted self-publishing and hybrid publishing.’ It’s a middle ground that gives authors a lot more control and potentially more income while still providing the support and experience of a publishing house. Authors get involved in every decision, from cover design to marketing strategies, because they’re footing all or part of the bill.
What to call this new breed of publishing? Higgs isn’t a fan of terms like custom publishing (‘sounds too corporate’) or boutique publishing (‘sounds like expensive small hotels’). Higgs believes hybrid publishing is the best term, as it blends elements of traditional and self-publishing. It’s an approach that offers authors more support and credibility than going it alone, while still giving them a significant say in the process.
If you’re thinking of dipping your toes into the self-publishing waters, here’s some advice:
– Educate yourself. The publishing world can be as complex as a George RR Martin plot, so learn as much as you can before diving in. Build a community of fellow authors and industry pros – they’ll be your lifeline when things get tough. Don’t print too many copies, digital printing allows you to print 50 copies or 200 at a time, so don’t risk printing 2000.
– Don’t skimp on quality. Your self-published book should be able to stand shoulder-to-shoulder with anything coming out of publishing houses. That means investing in professional editing, cover design, paper quality, and marketing.
– Speaking of marketing, get ready to build your social media profile. If used mindfully it can be your route to finding and connecting with readers. And remember, there’s a massive ‘reader appetite’ out there, especially for serialized genre fiction in the 60 000 to 80 000-word range.
At the end of the day, self-publishing is all about weighing the pros and cons. Yes, you get control and potentially higher earnings. But you’re also taking on all the risk and responsibility. It’s not for everyone, but if you have an entrepreneurial streak and are willing to put in the work, it can be rewarding. You might enjoy selling books from the boot of your car for one book, but the adventure of it might pale after that first few months of hand-selling each copy.
At the very least, you will learn about publishing. Self-publishing gives authors a more realistic sense of what publishers offer when they take on a book. And how tough it is to make it work. It can be a journey of discovery, not just of the publishing world, but of yourself as a writer and entrepreneur.
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Publisher information
The African Small Publishers Catalogue is a comprehensive reference book that showcases independent publishers across Africa, celebrating their contributions while making their work more visible and accessible. Tool for librarians, scholars, publishers, booksellers and others.
The sixth edition of the African Small Publishers Catalogue showcases small and independent African publishers. More than sixty publishers from across Africa are listed, including countries such as Egypt, Ethiopia, Ghana, Zimbabwe, Senegal, Nigeria, Togo, Mauritius, Mozambique, Morocco, Uganda, Rwanda, Nigeria, Tunisia, South Africa and Namibia. Countries beyond Africa that list their work in African publishing include Canada, Germany, the UK, the US, Switzerland and France.
The catalogue also contains articles that offer insights into the challenges and experiences of small publishers in Africa. It serves as a valuable resource for publishers, writers, librarians, booksellers, scholars and those involved in promoting reading, literacy and African Publishing.
In addition, others who work in the book trade have a place too, for example, editors, proofreaders, audiobook platforms, specialist libraries, booksellers, and printers.
This edition contains articles as follows:
‘Of graphite heroes and chest clothing: the perils of self-publishing’ by Charlene Smith
‘Self-publishing a real choice for writers’ by Jessie Cooper
‘Imprint Africa: conversations with African women publishers’ by Joel Cabrita
‘Five writers and publishers discuss the continent’s boundless literary landscape’ excerpt from LitHub interview/roundtable in 2022 led by Ed Nawotka
‘Tough times for publishing in Africa: honouring the legacy of three important presses’ by Colleen Higgs
‘More about New Contrast’
‘#ReadingAfrica’ by Jessica Powers
‘The Island Prize’ by Karen Jennings
‘The Aerial Publishing Story’ by Cassandra Scheepers
