REPORT ON THE AUTHORS' HUB MONTHLY PANEL DISCUSSION_ BY CELINA CHINWEMMERI IKECHUKWU

INTRODUCTION

The Authors’ Hub 12th Monthly Panel Discussion, themed The Art and Business of Writing: What Young Writers Should Know, was held on 28th March 2026, from 4:30 PM to 6:00 PM via Google Meet.

The session which had a large turnout of attendees, brought together accomplished writers, scholars, and literary practitioners to explore the creative and professional dimensions of writing, with particular focus on guiding emerging writers in navigating both craft and career sustainability. 

The discussion was moderated by Mrs. Mercy Enwongulu, a distinguished literary scholar, poet, and author of _The Maiden_ and _Soldier Boy_. A Senior Lecturer at Isa Mustapha Agwai I Polytechnic, Lafia, and Vice Chair of the Association of Nigerian Authors (ANA), Nasarawa State Chapter, she brought both academic depth and practical literary experience to the conversation, steering the session with clarity and insight.

The panel featured an array of distinguished speakers:

1. Professor Amanze Akpuda: A renowned Nigerian poet, literary scholar, and film critic whose work has significantly contributed to the study of African literature and cinema. A Fellow of the Association of Nigerian Authors and member of the Film Educators Guild of Nigeria, he teaches at Abia State University, Uturu. His works include _Not Yet the Guillotined Mind_ and several critical studies on African literary forms.

2. Mr. Surender Panthri: An Indian writer based in New Delhi, has a diverse career spanning creative and professional writing, including greeting cards, journalism, television drama, and documentary writing. With over two decades of experience in public relations and learning technologies, he has, in recent years, focused primarily on poetry, reflecting on the resilience and discipline required in the creative journey.

3. Senator Shehu Sani: A writer, playwright, poet, and human rights activist whose literary voice emerged during periods of incarceration under military regimes. His works, including _Prison Anthology_, _Killing Fields_, and _Phantom Crescent_, interrogate themes of injustice, power, and resistance, while his advocacy continues to support literary and civic consciousness.

4. Mr. Eriata Oribhabor: A prominent Nigerian poet, editor, and publisher, widely recognized for his contributions to contemporary Nigerian poetry. Founder of the Poets in Nigeria (PIN) Initiative, he has played a pivotal role in mentoring young writers through competitions, workshops, and literary development programmes.

5. Dr. Lola Akande: An award-winning academic and fiction writer whose works have received both national and international recognition. Her novel _What It Takes_ won the ANA Prize for Prose Fiction (2017), while _Suitors Are Scarce in Lagos_ earned the ANA Prize for Short Stories (2022). She currently teaches African Literature at the University of Lagos.

The session was hosted by Sumaila Isah Umaisha, founder and coordinator of Authors' Hub.

Moderator’s Opening Remarks:

Mrs. Mercy Enwongulu opened the session by emphasizing that writing goes beyond creativity, requiring insight, emotional depth, and the ability to connect meaningfully with readers while building a sustainable literary career. She noted that the discussion would draw from the diverse expertise of the panelists to guide young writers on developing their craft, navigating the publishing landscape, and positioning themselves professionally.

She concluded by expressing confidence that participants would leave the session informed, inspired, and better equipped to write with purpose and direction, while also appreciating the efforts of the coordinator, Mal. Sumaila Isah Umaisha.

PROFESSOR AMANZE AKPUDA:

Responding to the opening question, Professor Akpuda emphasized the importance of balancing reading with active writing in the development of a writer. He acknowledged that drawing from tradition and the works of established authors is essential, but cautioned against overindulgence in reading at the expense of practice: “It is possible to keep reading endlessly and never find the time to actually write.” According to him, while some writers need to study older works to refine their craft, balance remains crucial.

Drawing from his experience teaching creative writing, he explained that he often encourages students to engage practically with writing. For instance, when students suggest topics, he sometimes connects them to familiar texts such as _Things Fall Apart_, asking them to reflect on their understanding or imitate stylistic elements like the opening of a novel or drama.

He also highlighted the spontaneous writing exercises in his classroom, noting that some students come in without ever having written before. In such cases, he asks them to produce a poem on the spot, which is then reviewed. Stronger pieces are selected and collectively critiqued to help others identify what makes them effective. Through this process, students begin to recognize qualities they may not have attempted in their own works.

He concluded by reiterating that while reading is valuable, it must not overshadow practice: “You must also make time to write.”

MR. SURENDER PANTHRI:

Responding to the question on versatility and the business of writing, Mr. Panthri reflected on his journey across multiple forms of writing, emphasizing openness, adaptability, and self-discovery. He noted that at the beginning of his career, he did not have a rigid plan or a clearly defined path. With a background in literature and mass media, his primary goal was simply to engage in creative work wherever opportunities presented themselves. This lack of strict direction, combined with the fact that financial gain was not his initial motivation, allowed him the flexibility to explore different writing fields, from greeting cards and journalism to scripts and training content. 

From this experience, he implied that versatility is not always a calculated strategy, but often a result of staying open to growth and experience, especially in the early stages of a writing career.

He also offered a profound reflection on the nature of writing and success, noting that: “Writing is not necessarily meritocracy. You can be great and yet not sell, and you may sell and not be great.” He said writing is driven by something deeper than market success, emphasizing that writers create because of an inner necessity: “One writes because there is no other way to share what is fermenting inside.”

Overall, his response highlighted the unpredictable nature of the writing profession and the importance of passion, flexibility, and persistence in navigating both the creative and business aspects of writing.

DR. SHOLA ADEKUNLE (Representing Mr. Eriata Oribhabor)

Speaking on behalf of the President of Poets in Nigeria, Dr. Shola Adekunle addressed the question on the habits and disciplines required for young writers to transition from casual writing to building a serious literary career.

She emphasized that creativity remains foundational, describing poetry as an art that depends on the effective use of language and meaningful communication. According to her, young writers must approach writing with intentionality and discipline, taking deliberate steps to master their craft. She outlined several key practices necessary for growth, including active engagement with mentors, participation in writing workshops, and involvement in literary communities. She stressed the importance of wide and consistent reading across genres, as well as seeking constructive feedback to refine one’s work.

Dr. Adekunle highlighted that writing is deeply rooted in passion, but cautioned that expression must be thoughtful and purposeful: “Expression should not be careless; it should be reflective, intentional, and inspired.” She further encouraged writers to expose themselves to both traditional and contemporary forms of poetry, noting that while modern styles such as spoken word and free verse are evolving, they must be grounded in a solid understanding of established conventions: “Before attempting to break the rules, you must first understand them.” In addition, she advised young writers to actively pursue opportunities such as residencies, scholarships, and literary programmes, while surrounding themselves with supportive creative communities.

Addressing the realities of the profession, she noted that although poetry can be deeply fulfilling, it may not immediately provide financial stability. As such, she advised writers to remain pragmatic: “It is important to have a backup source of income.”

She concluded by reaffirming that passion and persistence are central to a writer’s journey, and that with consistency, growth and opportunities will inevitably follow.

DR. LOLA AKANDE:

Responding to the question on how young writers can develop strong narrative techniques and thematic depth, Dr. Lola Akande approached the discussion from both a creative and critical perspective, beginning with a clarification of key concepts.

She explained that narrative techniques refer to the methods a writer employs in telling a story, describing them as tools used to shape both the structure and impact of a narrative. According to her, writing, particularly the novel, is purposeful and must function as a cohesive whole: “A novel is an organic whole… all parts must come together.”

Elaborating on key techniques, she highlighted point of view as central to storytelling. He noted that First Person (“I”) creates intimacy between character and reader. Second Person (“you”) rarely used, is difficult to sustain in long works. Third Person can be omniscient, limited, or objective. She said writers must select the point of view that best suits their story on  different levels of intimacy and scope. 

She also discussed structure, contrasting linear storytelling with non-linear approaches, where narratives may begin from the middle and later unfold background events.

Using _No Longer at Ease_ as an example, she illustrated how a story can begin near its climax before retracing its progression, thereby sustaining reader engagement.

Dr. Akande further emphasized the importance of characterization, describing it as essential to creating believable and dynamic figures, as well as techniques such as stream of consciousness, which attempts to mirror the natural flow of human thought. She also noted that the use of tension and suspense must be handled with care to avoid confusion. Importantly, she drew a clear distinction between narrative techniques and literary elements, stressing that while techniques are optional stylistic choices, elements such as plot, theme, character, and setting are fundamental to every story. On thematic depth, she explained that it refers to the underlying meaning of a narrative, the layer that gives a story significance beyond its surface. According to her, this is achieved by engaging deeply with human experiences, emotions, and realities.

In her concluding advice, she cautioned young writers against over-fixating on technique: “Let the story guide the technique, not the other way around.” She encouraged them instead to focus on authenticity, coherence, and emotional truth, noting that excessive concern with technicalities can weaken the natural flow of storytelling.

Overall, her contribution underscored the need for balance, combining technical awareness with genuine expression to produce meaningful and compelling literature.

Contributions from Participants

DR. AWELE Ilusanmi, fANA:

Dr. Awele focused on the business side of writing, emphasizing that young writers should approach their craft with both creativity and commercial awareness from day one. From the very beginning, while honing craft, learning, editing, networking, and seeking feedback, writers should already cultivate a business mindset. She highlighted the importance of preparation: “If you suddenly decide to launch a book without preparation, you’ll face a key question: Who are you launching your book to if you haven’t built an audience?” Writing success, she explained, requires balancing craft, growth, and business awareness; “Quality work + strategy = sustainable success.”

She stressed that waiting until the end to consider the business side risks missing crucial opportunities. She encouraged writers: “Put in the work in your craft. The first step is creativity, and another is marketing your creativity. Do not shy away from publishing and marketing your books.” She added: “When young writers do this effectively, they may even find that they no longer have enough time to do everything they want, because of the many opportunities and responsibilities that come with success.” 

She concluded that this proactive approach has led to her books being sold out even before printing.

Esther Arikanki asked: 

How can experienced writers give back and support upcoming talents?

Mal. Denja Abdullahi:

In response to the question, Mal. Denja said mentorship must be intentional. Emerging writers should actively seek guidance and create opportunities to engage with experienced writers. Structured support, such as paid publications, grants, residencies, and compensated platforms, enables writers to focus, reflect, and produce high-quality work.

Having answered the question, Mal. Denja went on: “I can consider myself a member of the ‘old guard.’ Traditionally, writers did not begin writing with the goal of becoming famous or making money. We started writing because we had something to say. We were deeply concerned with craft and theme.” He emphasized, “Interestingly, it is often those works, written with sincerity and purpose, that later bring the fame and financial reward we never initially pursued.”

He advised young writers not to prioritize money but to focus on: Developing their craft. Having something meaningful to say. Creating work that can impact readers.

He acknowledged the realities of today’s professionalized writing world: “Writers are expected to earn a living from their work, but writing has become increasingly difficult, even for experienced writers, due to daily pressures and challenges. When basic needs are not met, it becomes hard to focus, reflect, and create.”

He also noted that economic realities affect audiences: sometimes readers are not in a position to engage with new work, which adds another layer of challenge for writers today.

Ms. Rashidat Ajakaye:

Dr. Rasheedat shared that her writing journey began without support, facing doubts and silence, but persistence and self-belief were crucial. She emphasized that beginners should believe in themselves, take action without waiting for validation, and revisit early works, as growth comes through practice, feedback, and learning from others.

Mr. Clem:

Mr. Clem, speaking as a young writer, emphasized the value of online publication as a tool for growth rather than immediate commercialization. He said online platforms should be “a way of creating awareness for yourself, building your audience, and receiving constructive criticism.” Through this, writers can identify strengths, improve weak areas, and grow steadily in their craft.

He further advised: “Write out of passion, not just with the intention of making money.” Writing from passion helps young writers:

- Discover their niche

- Understand what inspires them

- Develop a consistent creative creative flow

- Overcome writer’s block naturally

*_Dr. Chika Ose-agbo_*

Dr. Chika emphasized the importance of commitment and consistency in mastering the writing craft. She reinforced the idea that young writers must remain dedicated to learning and refining their skills over time.

She also referenced Dr. Awele’s advice, highlighting that writers should “know what to say and always speak up.” This underscores the dual responsibility of writers to both develop their craft and actively engage with their audience.

Panelists Final Remarks

Prof. Amanze Akpuda:

Prof. Akpuda reflected on his experience teaching creative writing to first-year students as part of the CC-Mas course requirement. He emphasized, “Creative writing is possibly the only course that exposes them to the practical ways of making money as literature students. If they are able to create strong work, whether in poetry, drama, or prose, they can achieve significant financial success.” He disclosed that the current Year One students in the Department of English at Abia State University are exceptional, consistently producing “two poems, or a piece of drama” each session, which they review and discuss immediately. Prof. Akpuda noted, “When students are teachable and receptive, it makes the mentor’s role much easier and more fulfilling. Personally, I truly enjoy teaching them; both in physical classrooms and through online platforms.”

Mr. Surender Panthri:

Mr. Panthri emphasized that poetry blends emotion, insight, and language, but young writers must balance artistic integrity with visibility and financial sustainability. He advised: “Master the craft first; visibility should follow craft.”

Dr. Shola Adekunle:

Dr. Adekunle highlighted that writing today is not just an art but also an economic tool. She emphasized that writers must make their work accessible, relatable, and clear, using simple yet powerful language to connect with readers.

_Dr. Lola Akande_

Dr. Akande highlighted that writing today extends far beyond books. Writers must adapt to digital platforms, creating content for websites, YouTube, and mobile audiences. She stressed that writing is not only creative but also a business skill, empowering writers to influence audiences and compete responsibly in a global space.

🧠KEY TAKEAWAY: “Writing today is both a creative and business skill. Adapt, refine, and let your work speak with clarity and impact.

© CELINA CHINWEMMERI IKECHUKWU, 

the Authors’ Hub rapporteur, is a student and an award-winning writer!

- Nigeria