Dear Nollywood Screenwriter
Nollywood has had such a great year, hasn’t it? Our titles; short films, features, and series have dominated platforms, bagged several awards, and have made an indelible mark in the world. A mark that says we are here.
C J Obasi’s Mami Wata is the pride of Nigeria and Africa. Matt Zoller Seitz of Roger Ebert says that ‘the film casts a spell, and the spell persists to the end’. The Guardian ends its review of the film by calling it ‘an arresting piece of work’. Tunde Apalowo’s All the Colours of the World are between Black & White splashed colour on the 2023 Nollywood canvas. Carlos Esquives of Cinencuentro says that ‘perhaps it is because of the sobriety with which its events are narrated that makes Babatunde Apalowo’s debut film a different film’. The Black Book, a film by Editi Effiong is aptly described by Scott Roxborough of The Hollywood Reporter as ‘The Nigerian Hit Movie That Broke Netflix’.
Back home, Jade Osiberu’s The Trade and Linda Ikeji’s Dark October, both based on true events, caused stirs. Niyi Akinmolayan’s Anthill gave us the creatively told The House of Secrets and the family-friendly magical realism flick, Mikolo. There are Jade Osiberu’s action flicks, Gangs of Lagos and Brotherhood. Biodun Stephen’s beautiful Big Love and heartfelt Sista. Franklyn Jituboh’s horror flick The Origin: Madam Koi-Koi. Femi Adebayo’s epic Jagun Jagun. Charles Okpaleke’s ambitious Blood Vessel. AY Makun’s pulsating Merry Men 3: Nemesis. Kunle Afolayan’s YA Ijogbon. Kayode Kasum’s musical Obara’M. B B Sasore’s incredible Breath of Life. The cinema giant Funke Akindele’s A Tribe Called Judah. There are short films to root for this year as well: Fatimah Binta Gimsay’s Omozi, Fisayo Ojabodu’s The Delectable Azeezah Sama, Dika Ofoma’s A Japa Tale and also A Quiet Monday, Chinazaekpere Chukwu’s Ti E Nbo, Ugochukwu Onuoha and Dika Ofoma’s Nkemakonam, and…the list is seemingly endless.
You also have TV series that have made us proud. Chichi Nworah’s gritty Shanty Town getting watched over 27 million hours on Netflix is breathtaking. Similarly, her also gritty Slum King on Africa Magic is so huge that its fans daily demand for the next season. Yinka Edward’s thrilling masterpiece Crime and Justice Lagos. Tola Odunsi’s anticipated The Men’s Club: New Chapter. TNC Africa’s grounded drama Ololade. Roberta Orioma’s overlooked beau Grind. Femi Ogunsanwo’s simple cultural Masquerades of Aniedo. Rogers Ofime’s fan favourite Wura, Uche Ikejimba’s fetish legal Agu. Rogba Arimoro’s intriguing thriller Refuge. Again…the list is seemingly endless.
Phew. Going through this, it is clear Nollywood took several giant steps forward this year. You should be proud of Nollywood. The lingering question is; as a professional screenwriter in Nollywood, are you also proud of yourself?
Despite the industry’s long list of short films, features, and TV series, there is a longer list of professional storytellers and screenwriters in the country. Maths suggests that only a fraction of these screenwriters have works that made it to the screen in 2023. Further Maths suggests that of these screenwriters whose works are on screen in 2023, only a subset enjoy the success ascribed to a good piece of art. Yet another lingering question is; if you are a professional screenwriter in Nollywood but not in this Further Maths-derived subset, are you still proud of yourself?
Of course, everybody wants to have their names in shining lights and their screenwriter credits on the most successful films and TV series. Of course. But what if this year isn’t your year? What if in 2024, your name still lies in obscurity? Will you be unhappy, depressed, bummed out, engaging in Nollywood-specific schadenfreude at every chance you get? Or will you wait patiently for your time, preparing during this wait like an obsessed fiend?
Which will it be?
For Nollywood to reach heights unimaginable, it needs its storytellers and screenwriters to go deeper and higher in their storytelling and writing. Storytelling is hard, so Nollywood needs you, dear Nollywood screenwriter, to be obsessive about your craft. Will there be opportunities to turn stones into bread? Absolutely. And will you be ready when that time comes? You better be! You better be at your post, studying, writing, and burning the extra oil when the Groom arrives. You should be skilled enough, mentally fortified enough, obsessed enough to churn out the best possible work when you are eventually, or once again, called upon. This is the only way to give yourself a fighting chance to be proud of yourself at the end of 2024.
What to do to be an obsessed screenwriter? Study. Watch. Read. Don’t fixate on writing.
What or who should you study? Brandon Sanderson’s lectures are on YouTube. Search for them and engage. Brené Brown has an excellent podcast Unlocking Us with Brené Brown which has intriguing conversations on human emotions. Search for it and listen. StudioBinder releases YouTube videos on filmmaking. Search for them and watch. Alan Moore has a brilliant 32-part storytelling course. Search for it and consume. John Truby teaches the anatomy of story genres on YouTube. Search for it and learn. Mary Robinette Kowal, DongWon Song, Erin Roberts, Dan Well, and Brandon Sanderson have the rich podcast Writing Excuses. Listen to it. You are now out of excuses.
What or who should you watch? One would think you have the What part covered. The Who part though; watch those you respect in the industry. DM them, ask questions, and ask for a minute of their time over breakfast or lunch. Desist from only asking those you respect for jobs or to critique your work. The world is asking for what they can do. You, ask them for what they know. People like talking about themselves and what they know.
What and who you should read? Anything. And. Everything. Read fiction as varied as Chimamanda Ngozi Adichie’s Purple Hibiscus, Jonathan Maberry’s Patient Zero, Nnedi Okorafor’s Who Fears Death, George R.R. Martins’ A Game of Thrones, Adaobi Tricia Nwaubani’s I Do Not Come To You By Chance, or Dan Brown’s Origin. Read non-fiction as varied as James Allen’s Mind is the Master, Kevin Dutton’s The Wisdom of Psychopaths, Ayn Rand’s Atlas Shrugged, Napoleon Hill’s Think and Grow Rich, Esther Perel’s The State of Affairs, or Douglas Hofstadter’s Metamagical Themas: Questing for the Essence of Mind and Pattern. In the words of Naval Ravikant; the foundation of learning is reading.
Why not to fixate on writing? Your writing is an output, a fruit. The root is your mind. Deepen your mind and watch your writing take flight. You can’t write better than the capacity of your mind. Don’t fixate on writing, though still write. Rather, fixate on studying, watching, and reading.
In conclusion, my Dear Nollywood Screenwriter, Nollywood has had a great run this year. But some of us screenwriters have taken a couple of hits. Either from a lack of financially rewarding and soul-filling work or an obvious lack of an array of tools in their arsenal when called to battle. 2024 is around the corner. Nollywood will continue its giant leaps forward. We will continue to be proud of it. You also should take giant leaps forward in pursuit of this great art you have given your life over to.
