In a literary landscape often punctuated by debates comparing past and present talents, a recent initiative from the Zimbabwe Open Universi...
In a literary landscape often punctuated by debates comparing past and present talents, a recent initiative from the Zimbabwe Open University (ZOU) sought to equip the nation’s writers with the tools to not only participate in this conversation but to redefine it.
Reflecting on the recently concluded Short Course on Creative Writing, Editing and Publishing, Nhlanhla Sibanda the course designer and coordinator, explained that the programme was a direct response to the perennial question: are modern writers as genuine or exciting as their predecessors?
“We must bring that literary spark back,” he said, acknowledging the common critique.
“We have talented writers in this country. Maybe it's a case of nostalgia, or technology has a hand, or the themes and styles they follow are different? Whatever it is, things evolve.”
For Sibanda, the crucial element is not the story itself, but the ‘how’ it is told. This philosophy was the driving force behind the course, which aimed to afford writers the opportunity to pen their stories and poetry with a “heightened measure of confidence, focus, originality, and passion.”
Hosted by the ZOU Faculty of Arts, Culture and Heritage Studies from September 1 to 5, at ZOU House in Bulawayo, the intensive workshop delved into critical areas of the craft.
Facilitated by a seasoned team including Sibanda, Peter Chiridza, Raisedon Baya, Pentecost Mate, and Ndaba Sibanda, the curriculum covered essential topics such as ‘Understanding the Necessity of Writing’; ‘Manipulative Power of Writing’; ‘Types of Writing/Genre, ‘Creative Writing as an Art, Africentrism as Theory and Narrative Voice’; ‘Editing’ and ‘Publishing’.
The course provided vital guidance on the fundamental elements of storytelling — from conflict and point of view to theme, plot, setting, and imagery — ensuring the art of compelling storytelling continues to evolve and thrive in Zimbabwe.Standard Style reporter Khumbulani Muleya (KM) sat down with Nhlanhla Sibanda (NS) for an interview.
KM: What specific gap in the skills or publishing market does this intensive certificate aim to fill?
NS: The broad aim of the course is to afford creative writers the opportunity to apply their unique individual ability to produce original ideas, and this comes as a result of a complex interaction of cognitive skills, abilities, personality factors, motivation, and strategies.
All this is predicated on the understanding of a Nigerian proverb that, “Until the Lion tells his story, the hunter will always be the hero.”
Students should understand the essence of content creation and telling their own story without waiting for other people to narrate and write stories on their behalf.
This intensive certificate seeks to bridge a yawning gap in terms of writing creatively or originally, proofreading, editing and formatting.
We have established from the plight of the writers themselves that these interventions are crucial. If these are drilled, they will not only boost the quality of the product but also increase chances of a writer's work being accepted by possible publishers.
On the other hand, the course equips participants with the nitty gritties of publishing in terms of types of publishers suitable for one's work or budget, how to successfully pitch editors.
It was more than an event; it was a process of building measurable synergies and visions.It was a very deliberate, dynamic and interactive learner-centered training where students wrote, read and discussed pieces. That is not all. We created a space not only for connection, continuity and dialogue but to afford editorial and publishing opportunities.
We aim to assist them to get their works published, hence we shared with them a list of publishers that are currently seeking submissions. Additionally, our port of call is to collect, collate and edit a work on the drug menace in Zim. We feel this is an urgent and crucial issue that we need to tackle.
KM: Beyond the certificate, what is one tangible, measurable outcome a student can realistically expect? For instance, will they finish a publishable short story or have a fully developed book proposal?
NS: In line with the course objectives, the course seeks to develop students’ ability to write in a variety of genres including fiction, poetry, drama, and scriptwriting.
This is supposed to be measurable through one of the expected outcomes wherein students should demonstrate the ability to produce original creative works in at least two different genres.
A major task/project assigned speaks to the Drug and Substance Abusemenace that has ravaged most communities in the nation and beyond, with the threat of decimating generations if untamed.
The project seeks to collect, collate and edit creative works by students for possible publication into an anthology bearing in mind His Excellency, the President of the Republic of Zimbabwe, Dr E.D. Mnangagwa’s clarion call for decisive action against the drug and substance abuse menace towards a Vision for a Drug-Free Zimbabwe.
KM: A key objective is understanding ethical considerations. In today’s world, does this include navigating issues like AI-generated writing, digital plagiarism, and the ethical responsibilities of writers in a polarized social media environment?
NS: Absolutely, in today’s world of high technology and piracy, a writing course worth its salt cannot disregard critical issues like AI-generated writing and digital plagiarism.
We live in the digital age; we are happy that Africa is said to be making a digital leap because the future is also digital. Writers have a responsibility to write in an original way and not assign everything to AI, because that would be tragic.
We don’t want to lose our human or ‘real’ touch in writing as one facilitator creatively referred to it. We should not abdicate our responsibility to be in charge of technology, lest robots override the human line!
KM: What concrete pathways exist for graduates? Does ZOU have partnerships with local publishers, literary journals, or online platforms to whom you can recommend standout work?
NS: ZOU has a printing press and fully-fledged editorial department that is a critical arm of the university in learning materials development. Riding on such a platform, the short course seeks to afford the participants an opportunity to be published through the institutional publishing press, including the local and other literary journals that the university finds credible.
The university seeks, through the platform established with the facilitators who are already published, to afford the participants a broader spectrum of publishing possibilities in terms of the manuscripts that they either already possess or will be inspired to generate from the short course engagement.
KM: Does the course also cover teaching the business of writing, such as how to pitch to editors, negotiate contracts, or market one's own work - as a core skill for sustainability?
NS: Certainly,it does. It seeks to broaden, empower and professionalize a writer's journey, and what better way than to equip him or her with skills that will make them independent, professional creators of ideas and wealth for themselves and society. Writers can become mentors, thought leaders and editors in their own right.
In line with the five pillars of Education 5.0 in Zimbabwe which are teaching, research, community service, innovation, and industrialization, there is need to transform the arts and channel communities towards tangible market-oriented outcomes for sustainable livelihoods.
This heritage-based philosophy guides higher and tertiary education to harness local resources for national development, aiming to industrialise the economy and achieve an upper-middle-income status by focusing on problem-solving and value creation. It is high time that creative artists realised value in their artwork within the literary domain.
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