She Leads Africa

Colleen Higgs: Digital publishing has brought new opportunities for publishers

Colleen Higgs started Modjaji Books in 2007 as an independent feminist press that publishes southern African women’s fiction, poetry, and biographies.   She felt African women deserved to tell their stories on an authentic and conscientious platform. Many Modjaji book titles have gone on to win numerous prestigious literary awards both locally and internationally. In this article, Colleen Higgs talks about her work and what it takes to be a feminist publisher. What are the top three things someone needs to consider before opening a publishing business? Do you have enough starting capital? Publishing requires money up front and it takes time to earn that money back. Think carefully about why you are doing it.  After many years of publishing, you might find it tough to deal with all the many demands made of you, the lack of appreciation for what you have done for writers and how little money you make from doing the work. What is your focus going to be? It is good to have a very particular focus, it will help you to find an audience and to make decisions about what to publish. Tell us about your work as an independent publisher. Being a writer I understood what it was like to want to get published and the inflation and deflation of the relationship with a publisher. It didn’t prepare me for all the work that it takes though, the ongoing attention to the big picture and to detail that the publisher has to manage. Publishers do a vast number of things. You don’t just read through submissions and select books to publish. There is a huge amount of admin. You work out a vision and focus for your company and keep a firm eye on the money and cash flow.   You must constantly maintain relationships with all the people you work with: printers, writers, editors, illustrators, artists, proof-readers, shareholders, accountant, book-keeper, bookstore owners and employees not to mention participating in book fairs and doing interviews! Why was it important to open Modjaji Books as a ‘feminist’ print? Modjaji fills a gap by providing an outlet for writing by women that takes itself and its readers seriously. Having lived through and enacted publishing only women, I became aware of how this has been a deeply political act. When you think about the way publishing is owned, media is owned, who gets to make the decisions, and how women are represented, here and internationally it just made sense. Women do have a different experience of the world – not just because they are women, but because of the way power is structured and filtered. I had experienced my own writing not being taken seriously because it is too ‘confessional’. I wanted to make a way that other women could be published where a set of values and perceptions that were not patriarchal and were not centered in the “Dead, White, Male canon” would make the decisions about what should be published. Many of your authors have been nominated to win prestigious literary awards. How do you feel about this? Modjaji has been lucky enough to publish the work of very talented writers. I like to think it is also because we have done a good job of editing the manuscripts and because of how the company is positioned and how we have framed and spotlighted particular works.   We have published a lot of debuts short stories and poetry collections, many of these have won prizes, and yet they are books that most commercial publishers would not touch. How has society changed by reading your published books on infertility, stillbirth, homosexuality, etc. I have seen how these books have added to a growing discourse on topics that were taboo or not in the mainstream but now have a more prominent place. I’m proud to have had Modjaji Books be at the cutting edge of this kind of publishing here in South Africa. Haven run Modjaji for twelve years, have you faced any challenges running an African press? Yes, there are challenges, we are not supported by government policies that help us to grow and increase our sales. Recently the SA Book Development Council funded our participation in the SA Book Fair. I don’t think this goes far enough. I think there needs to be an active policy of buying local books for libraries. If we as independent South African publishers knew that even as few as 500 of our really good titles would be bought by the library system, it would make it all much more viable. Trade routes and avenues of distribution into other African countries are not nearly as strong as are those to Europe and the US. It would be great to see work on this taking place at a national level Publishing is a very expensive industry. As a publishing brand, how do you approach your need for commercial success? I have to confess I have not focused too much on commercial success! I thought that if I published something that needed to be heard it would be commercially successful. This has not been the case. I have tried to publish books and voices I have loved. With the increase of digital books, self publishing, and rumors of the “death of print”, how do you plan on staying relevant in the industry? If one continues to publish books that are well written, powerful and have a clear voice, a particular story, we as publishers will remain relevant in my opinion. It is important not to get stuck in a particular mind set and to be open to new technology and to new voices and perspectives. Having said that, there have been many changes in the last 12 years. Social media has become a force for publishing books, and for writers to connect with each other. Digital publishing has brought new opportunities for publishers. Self-publishing has its place, but there is still a great deal of room for publishers to work

Incredible Women in Art: Maneo Mohale — I’m hella queer, and proudly so

Maneo Mohale is one of the most brilliant minds we’ve ever met. She is an arts journalist, writer, editor and a major LGBTQI advocate, who has written for prominent publications and has also created her own platform, The Talon. Maneo uses her extraordinary talent to create a safe space for the LGBTQI community and black women; lending them a voice in order to share their own stories and experiences. We had the amazing opportunity to pick Maneo’s brain and chat about all the things that move her. How did you get into the art industry? The Art industry is extremely broad and feels a little incongruous with what I do with most of my time, (which is write and edit), but I’ve been writing for as long as I remember. I only entered seriously into the realm of arts journalism at university, when I co-founded an online student journalism platform called The Talon alongside an incredible team and editorial collective. I was a writer and an editor for the publication, but I really enjoyed editing there. Soon after, I dipped my toes in all kinds of creative and journalistic writing and then landed my Global Feminism Writing Fellowship with an American feminist organization called Bitch Media, which really skyrocketed by interest in smart and sexy arts journalism. Since then, I’m really getting a feel for the media landscape, and I’m loving the art that I am exposed to by both editing talented arts writers and trying my pen at responding to the waves made in the South African and broader global arts industries as well. [bctt tweet=”The media landscape is made richer and more meaningful with our voices in it – @ManeoMohale” username=”SheLeadsAfrica”] As an advocate for the LGBTQI community, tell us about what you do, including your work with Platform Magazine I think there’s more than a little danger in forming an identity around advocacy and activism, so I tend to bristle a bit at the solidity of thinking of myself as an ‘advocate’. I’m hella queer, and proudly so, and because of the spaces and access that I’m fortunate to have at my fingertips through the work I do, I try my best to make space while taking space in the world. It’s a seemingly simple praxis, but it’s rooted in the radical and innate belief that we hold each other’s lives, liberation, safety, progress, in our hands. As an editor, for Platform and others, that looked like deliberately and consciously looking for and developing the writing of black women, trans writers, queer writers, etc., especially in spaces where there are more barriers to our publications than most. It’s quiet, gradual work, but that’s the kind of work I love best. The media landscape is made richer and more meaningful with our voices in it, and whatever part I get to play in that is a real source of joy and pride. Who are your two favourite women artists and why? I have a real soft spot for jazz and jazz writing, as I was raised listening to, and soaking up aspects of jazz culture since I was tiny. Lately, I’ve really appreciated how South African jazz has widened to really centralise women and my two favourite artists right now are Thandi Ntuli and Zoë Modiga. They’re electrifyingly talented, and I adore their approach to their craft so much. They make me want to become a better writer. [bctt tweet=”I love the art that I am exposed to – @ManeoMohale” username=”SheLeadsAfrica”] Who do you look to for inspiration? It may sound really silly, but I’m inspired all of the time, everywhere I look. I’m surrounded by passionate and creative people. They’re my ever-expanding chosen family and just basking in their light is enough to inspire me.   Do you have any upcoming projects that you can share with us? I do! Some of them are still in the oven and developing, especially personal creative projects and publications that are forming on the horizon. But the one I’m most excited about it a queer reading series that I’m launching with some of my favourite people in the world. It’ll be a space where trans and queer writers can read their work to an audience and share their process while building a supportive and responsive community at the same time. We have such powerful, thoughtful, and innovative writing produced by trans and queer people here in SA, and I’m excited to lend my hand in creating a space for us to just bask in each other’s brilliance. What advice do you have for anyone who wants to become a creative artist? Find your family, and start where you are. Finding, building and nurturing a community of people who are both supportive and critical is how I started on this convoluted journey – they were the first people I trusted to read my work, and created a bedrock for me to test my ideas for projects and pieces. Also, what inevitably happens is a moment when you all look around the room at each other and say: “We don’t need anyone else to start something gorgeous. We’ve got each other.” As a Black Queer Feminist, how do you navigate through challenges in the creative industry? I think one of my main challenges, (asides from the given ones around navigating the triple whammy of racism, sexism and homophobia), is learning how to take up space while standing my ground, especially around some of the principles and values on which I refuse to compromise. I’m not a particularly confrontational person, and I’m quite a sensitive bean at the best times, so learning how to be firm for myself is definitely an ever-unfolding lesson. When it comes to being fierce for other people, my writers, for example, I can do that in a heartbeat. It’s instinctual for me to be protective. But when it comes to me, well shucks. But we live and we learn, and I think I’m getting better at it,