Nneoma Michelle Egeonu is a UK-based Nigerian writer, literary activist, and Founder of the Guild of African Thriller Authors (GATA).
An author of “In Broad Daylight” and other Amazon bestselling titles, she is also the host of Nigeria’s first-ever National Reading Contest, an initiative aimed at promoting and rewarding reading culture across the country.
In this exclusive interview with Nigerian journalist, Izunna Okafor, Egeonu shares insights into her remarkable writing journey, literary activism, and passion for nurturing young African writers.
The Anambra-born public figure opens up about her creative process, the challenges of blending African narratives with global genres, and her relentless efforts to revolutionize thriller fiction on the continent. She also reflects on her future projects, her approach to balancing a thriving career with personal life, and offers invaluable advice to aspiring writers exploring today’s literary landscape, while also sharing her reservations about the use of in creative writing.
EXCERPTS:
Izunna Okafor (IO)
You are a renowned writer, literary activist, as well as the Founder of the Guild of African Thriller Authors (GATA). Please, may we know more about you and your journey into writing and literary activism?
Nneoma Michelle Egeonu:
Thank you for having me. As a writer, literary activist, and Founder of the Guild of African Thriller Authors (GATA), I’m delighted to share my journey into writing and literary activism.
I’ve been passionate about writing and stories in general since childhood. Growing up, I excelled in English Language and was often chosen to read complex texts aloud in class. My Primary 3 teacher, Auntie Odachi, would have me read from our literary texts, such as Macmillan, in front of the whole classroom when I was just 7 years old. This experience not only helped me develop my reading skills but also instilled in me the love for stories and storytelling.
Additionally, I loved listening to African folktales a lot and I loved to listen to such stories from my aunties, grandma and a few other older relatives. My maternal grandma also bought us an illustrated book of Bible stories for children, and I read this many times while growing up.
As I progressed through secondary school, my writing skills improved, and I found myself writing inspirational pieces and even composing songs. I also read quite a number of books from various genres. Some of those books were books my dad had as a teenager and young adult. I also did Literature as an elective in SS1 even as a Science student. This helped me understand the intricacies and further informed my appreciation of poetry, fictional books and literature as a whole.
Around 2009 or 2010, when I was nearly 16, I read Ben Carson’s “Gifted Hands”, while still in secondary school. This book inspired me to become an author. I was greatly impressed by Carson’s story and thought I would love to be an author alongside being a medical doctor. My love for Medicine inspired me to pursue a BSc in Microbiology and later an MSc in Public Health as an adult, and I still hold hope of furthering my medical dreams.
Well, as fate would have it, the dream of being an author didn’t materialize until around early 2021. Years later after my secondary school, around 2013, I began publishing my thoughts on social media, although I wasn’t very active at the time.
However, I was not bold enough to call myself a writer then despite my early start in writing. Around 2018, I found myself coming up with titles of potential books that I wanted to write. Life went on until sometime in 2020 during the pandemic, when a former classmate needed an article for his new website.
At that time, I was also inspired by people who were growing their writing brands on social media.
Seeing how they were able to build their followership and share their works with a wider audience motivated me to do the same. That was when I began to gradually understand and realize the importance of branding, and I gradually started to brand myself as a writer. Looking back, and remembering the fear I had back then, I am amazed now at how far I have come in my career.
So, I wrote the article for the website in 2020, which was so voluminous and intense that it had to be broken into four articles.
Although the articles were never published, this experience sparked something within me, and I began to write more frequently. From then on, I gradually started writing more articles and publishing on my Facebook page and Medium.
I would also send to very few trusted friends/contacts (some of whom were writers) to read and review; and I always received glowing praises. I always sought for constructive feedback, and till date, I love constructive feedback.
Additionally, I started publishing poetry on my pages and doing a lot of activism, including writing posts in support of the End SARS protests. My activism, I wouldn’t say it was planned, but it came from the deep hurt I felt from the injustices in the society as a whole.
Towards the end of 2020, I read more books, improved on my writing craft and at the same time, I started working on my first book, which originally began as a literary submission for The New Yorker. After asking about two trusted people to review it, I sent the story to The New Yorker and received no response. Which was disheartening to me at the time.
Afterwards, a friend encouraged me to flesh out the story and consider publishing it. I edited and rewrote the story a couple of times and then, an editor — Sadiq MUSTAPHA who has become a close friend and a pioneer member of GATA — whom I sent the story to also loved the story and was quite impressed with the work. The story was originally titled “Stolen Innocence”, When I started writing books, naturally, I gravitated more towards fiction than non-fiction even though I also had a few non-fiction in the works.
The encouragement I received helped me to flesh out the story even more, write other stories, and eventually, the collection of stories (which also included a short story I had also written in that my 2020 unpublished article) were published as my first book, and after a couple of title reviews, its title eventually became “Nightmare in Sicily”, published in May 2021.
My first book was awarded by the Association of Nigerian Authors (ANA) in 2022 and became an instant bestseller on Amazon shortly after it was published in 2021. It also received many great reviews and I had people reading my book from around the world. This was a shocking and humbling experience because writing and opening yourself up to people is something that can make you feel ‘vulnerable’, especially as a beginner.
Additionally, being a writer who specializes mostly in thrillers, I have been watching crime investigation shows since secondary school. Although at the time in secondary school, I had no idea that I would become a crime-psychological thriller/genre writer in the future. I watched the programmes because I learnt a lot from them and they stretched my imagination.
Furthermore, after launching my first book, one of my publishers, Stanley Umezulike, was impressed by my stories in the collection, which included a short crime thriller story. He encouraged me to move further into the crime thriller genre as he’s also a crime thriller writer himself.
In 2021, I started writing Facebook posts as a 10-day crime writing challenge to market my debut book. This was also based on a marketing template produced by my publishers to solidify my writing brand on social media. The response was massive, and shortly afterward, the story was so intense and lengthy that I couldn’t contain it within the challenge.
Following my thoughts and my publisher’s and parents’ encouragements, I fleshed it out into a novel, and it eventually became my second book — “In Broad Daylight” — the first novel in the Kachi Obi Crime-Psychological Thriller Series, featuring detective Kachi Obi, the first of its kind set in Onitsha, Anambra State.
My literary activism followed shortly after, driven by the positive responses to my books from adults and children alike. I realized that there was a need for more diverse voices in the literary world, and I wanted to play a role in promoting African writers and stories. I was also what you can consider as an activist which I also engaged in, few years earlier, to inspire social change on various injustices in the society as I had earlier stated.
Years later, in 2024, the desire to promote African Thriller stories/Genre-fiction led me to found the Guild of African Thriller Authors (GATA), an organization dedicated to promoting African thriller writers and providing a platform for them to share their work. Through GATA, I hope to inspire and empower African writers to tell their stories and share them with the world.
In addition to writing, I am also a spoken word poet. In 2021, I published and Executively Produced a poetry short film titled “Land of Giants”. It was a poem that extolled the beauty and richness of Africa. It was shot in about 4 locations in Onitsha, Nigeria; had a full cast which included some Nollywood actors and actresses. We had video directors, editors, videographer, make up artist, producer, etc — just imagine whatever you would find in the shooting set of a proper movie.
The poetry video garnered thousands of views and was also showcased by PACHEDU at an important literary event in 2023. The organization, based in Scotland, represents ethnic minorities.
The video was also submitted to the Silicon Valley African Film Festival in the USA in 2022, even though it was not accepted for the Festival.
Subsequently, I also published another poetry piece — “On this Rock We Stand” — which was a literary piece for activism in support of and to galvanize the Nigerian youths for the 2023 presidential elections. This piece also gathered a lot of positive publicity and went viral on Twitter, Facebook and other platforms. In addition to these, I do release poetry videos on my YouTube periodically (although due to lack of chance these days, I don’t engage in it as much as I would love to.)
IO:
What inspired the creation of GATA, and how has its mission of promoting African thriller literature and amplifying underrepresented African voices shaped its activities and initiatives?
NME:
GATA actually started as a dream and an idea. Over the years, I have noticed that in Africa, using Nigeria as a case study, Thriller writers lack recognition. There is an influx of literary fiction in the market and why that is good and has formed the foundation of African literature; Africa or Nigeria is far much more than that.
I have read lots of thrillers set in the US and UK, and I know first-hand that we have so much more diverse experiences and stories that could enable us create authentic African thrillers however, these stories lack representation.
It’s almost like African stories or should I say the Western depiction of Africa focus a lot on poverty, war, hunger and so many other things that are stereotypes. While these things are sometimes based on true events, they are not exclusive to Africa.
Therefore, the idea for GATA came from the thought to make a difference as a thriller author and to not wait for validation from the outside world where a lot of gate keeping also exists. (Gate keeping though exists in Africa as well).
In pursuance of this idea of making a difference, I muted it (the idea) to a group of authors in a group of accountability partners. This was around July 2024. They instantly loved it; and gradually, we started working out how to make GATA work. We fleshed out the structure and plans for GATA, planned to write our debut anthology as well as host a physical event. And today, GATA stands and had become a huge movement.
Like you rightly said in your question, GATA was inspired by the need to promote and celebrate African thriller literature, as well as amplify the voices of underrepresented African thriller and genre-fiction writers. GATA aims to provide a platform for African thriller writers to showcase their work, connect with readers, and gain international recognition.
I would love to stress that
GATA’s mission is multifaceted, and while we have made some massive achievements, we hope to achieve so much more. Some of them are outlined below:
📌 Promote African thriller literature: GATA seeks to showcase the diversity and richness of African thriller literature, highlighting the unique perspectives and experiences of African writers.
📌 Amplify underrepresented African voices: GATA aims to provide a platform for African writers who have been historically underrepresented in the literary world, including women, marginalized communities, and writers from diverse linguistic and cultural backgrounds.
📌 Foster a community of African thriller writers: GATA seeks to create a supportive network of African thriller writers, providing opportunities for collaboration, mentorship, and knowledge sharing.
In terms of activities and initiatives to achieve GATA’s mission, the Guild has undertaken various activities, initiatives and also has many plans for the future, some of which are highlighted below:
📌 Literary events and workshops: GATA organizes literary events, the first of which was was the GATA EXPERIENCE event held in Abuja in December, 2024. GATA also plans to host more workshops, and webinars featuring African thriller writers and industry experts. Furthermore, we also hope that through GATA, awards which reward the richness and beauty of African thrillers can be established. We hope that these awards can be decentralized and that every author who is deserving can stand a chance to win without classism or even popularity.
These events organised by GATA provide opportunities for writers to showcase their work, receive feedback, and connect with readers and industry professionals.
📌 GATA BOOK CLUB: GATA began a book club for literary lovers on the 25th of January, 2025. This has been well received since it was posted on social media.
📌 ONLINE PLATFORMS AND SOCIAL MEDIA PRESENCE: GATA maintains a powerful online presence through social media channels, providing a platform for African thriller writers to share their work, connect with readers, and stay updated on industry news and trends. Through GATA’s activities, there has already been an increased and ever-growing visibility for African thriller writers, given its provision of platforms for African thriller writers to showcase their work, connect with readers, and gain international recognition. GATA plans to expand its online presence, social media channels, and literary events to reach a wider audience and provide more opportunities for African thriller writers.
📌 PUBLISHING AND MENTORSHIP PROGRAMS: GATA plans to establish publishing and mentorship programs, providing opportunities for emerging African thriller writers to develop their craft, receive mentorship, and publish their works.
📌 PARTNERSHIPS AND COLLABORATIONS: GATA hopes to collaborate with literary organizations, publishers, and industry professionals to promote African thriller literature and provide opportunities for African writers.
📌 COMMUNITY BUILDING AND NETWORKING: GATA has fostered a supportive community of African thriller writers, providing opportunities for collaboration, mentorship, and knowledge sharing. Furthermore, GATA plans to establish an Academy which would focus on teaching young writers thriller/genre fiction, among other deep dreams that we have for African thriller literature and African writers.
IO:
The GATA Experience Event held in Abuja on December 14, 2024, seems to have been a remarkable gathering. What inspired this event, and what were some of the highlights and key takeaways from the discussions and networking sessions?
NME:
The GATA Experience Event, held in Abuja on December 14, 2024, was a groundbreaking gathering that brought together authors, fans, and literary enthusiasts to celebrate the power of African thriller literature. The event was inspired by the need for GATA authors to connect in person, network with readers and fans, and take their literary activism beyond social media to a physical platform.
The event kicked off with me sharing the aims and objectives of GATA and our literary activism. This set the tone for a day of insightful discussions, networking, and learning. One of the highlights of the event was the Q&A session, where fans and readers had the opportunity to ask us about our writing experiences, publishing, and the craft of writing thrillers.
We shared valuable insights on what it takes to write and finish a first draft, as well as the importance of editing and revisions. We emphasized the need for authors to seek constructive feedback and approach professional editors to refine their stories before publication.
Additionally, we explored the various genres within the thriller space, highlighting the need for unique African stories that move beyond negative stereotypical narratives. This emphasis on showcasing the diversity and richness of African experiences resonated deeply with the audience.
Another significant part of the event was the discussion on the importance of reading and literature in African societies. We stressed the need for more Africans to embrace reading as a habit, highlighting its benefits for personal growth, empathy, and cultural understanding. We also emphasized the importance of creating a culture of literacy, where African stories and voices are amplified and celebrated.
We also held a session on the power of social media in creating a strong brand. We shared experiences on how to leverage social media platforms to connect with readers, promote our work, and build a community of fans and supporters. One of our authors, Precious Osikha, gave an in-depth explanation on how authors can leverage social media to grow their audience and market their works. Stanley Umezulike read an excerpt from his unpublished story and educated GATA fans on the intricacies of publishing and the importance of creating more authentic African thriller works.
One of the most inspiring moments of the event was when I shared my personal story about being inspired by the legacy of Chinua Achebe. Seeing the renowned author’s name on the Chinua Achebe Airport in Anambra reignited a powerful feeling in me, reminding me of the impact that literature can have on individuals and societies. The fact that an author’s legacy can be so impactful that an airport was named after him underscored the significance of GATA’s mission to promote African thriller literature and provide a platform for African voices to be heard.
Throughout the event, fans and readers had the opportunity to win books and engage with us in a relaxed and semi-formal setting. The event also featured powerful spoken word and rap performances by Lydia Joseph and Oddfelix, respectively.
We concluded the event with a sense of excitement and anticipation, as attendees looked forward to future GATA events and initiatives.
In summary, the GATA Experience Event was a resounding success. It provided a platform for us to connect with readers, share our experiences, and promote African thriller literature. The event highlighted the importance of reading, literature, and social media in creating a strong brand and amplifying African voices. As GATA continues to grow and evolve, events like the GATA Experience will play a crucial role in promoting literary activism, celebrating African stories, and inspiring a new generation of readers and writers.
IO:
Many African writers focus on literary fiction, while GATA champions genre fiction, particularly thrillers. Why do you think genre fiction has been overlooked in African literature, and how does GATA address this gap?
NME:
I think that for decades or centuries, there has been an expectation or burden on Africa by the West to produce stories that can be termed as “poverty porn.” This simply means that for decades, stories about Africa often represent suffering, hunger, and war, and are very stereotypical. They also typically feature female characters who go through the most heartbreaking suffering, often due to societal conditions and expectations.
This gives the global audience a false impression that every story from Africa must represent these themes. The narrative also somewhat shapes the African literary landscape in a negative light. I think these false narratives made our literary legend, Chinua Achebe, become the godfather of modern African literature because his authentic stories about Africa fought back against the false narratives imposed by the West. His attempt to “fight back,” I believe, was through his magnum opus, Things Fall Apart.
Also, I think that many—or should I say some—(aspiring) Nigerian/African writers love to “play it safe.” While very talented and brilliant, many of us prefer to do what is conventional. This is not to say that literary fiction is easy to write or that literary fiction writers are not brilliant (of course, they are brilliant because writing fiction as a whole can be very challenging!). However, genre fiction, in my experience, can be quite complex to create (especially genres like crime, fantasy, and futuristic genres), and this complexity can discourage some writers.
I also know that we have a lot of brilliant genre fiction writers in Africa. However, some of them are scared of pushing boundaries and fear not being acknowledged. They often feel that if they pursue a career in a genre like science or crime fiction, for instance, they won’t have an audience or that no one would want to read their stories (perhaps aside from their family members).
I also think that a lot of our reading audience is not used to genre fiction books set in Africa. At least, in my own experience, I have encountered many readers who are often shocked to discover my crime-psychological thrillers. They find it hard to believe that it is possible to replicate such powerful genres in Africa and give them a rich, authentic setting and storytelling, complete with twists, turns, and powerful characters.
Additionally, there is ample evidence that the West has stereotyped Africa for decades, if not centuries. Therefore, African stories that glorify suffering, war, and pain appear to have more reach.
Meanwhile, we can tap into our incredibly rich African cultures, experiences, languages, and beliefs to produce powerful African genre-bending stories that shatter stereotypes. I think we are missing out a lot because this is grossly neglected.
Our literary institutions also need to do better. I have never seen a single genre fiction book win a notable award in Nigeria for many decades since Nigerian literature awards were established—or at least I am not aware of any. This lack of recognition has pressured many writers, even exceptionally talented ones, to conform.
Currently, we have seen a slight rise in thriller writers in Nigeria and Africa as a whole, but in my opinion, we are still very few, and I know we can do so much more.
GATA bridges this gap by informing the populace that genre fiction/thrillers can be powerful, rich, and here to stay.
Since we started GATA, we have received many questions and concerns from young thriller writers who joined our public forum and social media pages. We try to educate and encourage them through mentorship, advice, and support as much as we can.
We also hope to bridge this gap through our book club, which just launched in January 2025. Additionally, we look forward to organizing writing and reading contests, partnering with renowned organizations, hosting more literary events, publishing more thriller books, and even establishing our own awards.
That way, GATA can sufficiently bridge the gap and inform people that their stories matter, and that genre fiction matters too and has a significant impact on our society and the world.
IO:
One of the notable achievements of GATA is the anthology, “Nigerian Women Are the Devil’s Playmate”. The title is quite intriguing. Could you tell us more about the inspiration behind the title, the stories in the anthology, and what makes it a significant addition to African literature?
NME:
The GATA anthology, titled “Nigerian Women Are the Devil’s Playmate”, was named after my story of the same title. The story is a satirical thriller that combines satire, humour, literary fiction, and thriller elements in one beautiful blend. The inspiration behind it came largely from social media—what happens around us and, in particular, social media responses and banter. For the anthology, I wanted to try something new and step outside of my comfort zone. The story, therefore, serves as a satire and social commentary on certain societal issues that bedevil us.
As for the title, which some may consider controversial, it was crafted as a satire meant to tell a story creatively, with a touch of humour. It’s an intriguing narrative that examines the choices people make and the factors influencing those decisions—both male and female.
A lot of the story’s meaning is open to the reader’s interpretation. Personally, I didn’t dwell much on using the title because I believe writers should not shy away from exercising their creativity, even when doing something unconventional.
The anthology, which consists of seven African thriller stories, has received a lot of interesting reviews since its release. The book is available on Amazon and is currently free on Selar.
It’s a significant addition to African literature because the stories are daring, unique, exceptional, and powerful. They explore various themes and genres while reflecting African perspectives in a profound way. To the best of my knowledge, it’s the first anthology of African thriller stories in Nigeria.
As for the other stories in the anthology, we have:
“Flame of Death” (Supernatural Thriller) by Ayomide Victor,
“If You Tell” (Crime Thriller) by Chiedu Dieyi,
“Fleeting Pleasure” (Romantic Thriller) by Vincent Evhade,
“Who Will Live to Tell the Story” (Psychological Thriller) by Sadiq Mustapha,
“EVE’s Second Bite” (Domestic/Revenge Thriller) by Precious Osikha, and
“Green Island” (Crime Thriller) by Stanley Umezulike.
IO:
As a writer, you emphasize the importance of representing African culture and experiences in thrillers and genre fiction. How do you achieve this in your writing, and how do you encourage other writers to do the same? Do you have a role model? If yes, who, and why him or her?
NME:
I achieve this in my writing by pushing boundaries, putting in substantial effort, and focusing on truth. I never like to cut corners, and originality is my mantra.
I try my best not to limit my creativity or focus on fame; rather, I aim to make my books and stories as rich, authentic, developed, and relatable as possible. I have received numerous positive reviews about my books and how richly developed my settings and characters are. This is due to the amount of effort I put into my stories. My first book, which is a collection of stories, was set in other countries apart from Africa, but most of the characters were Nigerians.
I also strive to reflect our African background and experiences by conducting extensive research.
For instance, when I wrote my first novel and second book, “In Broad Daylight”, I needed to include forensic and medical scenes (you often find such scenes in my books). Therefore, I contacted some morgues and consulted a histopathologist, who was credited in the acknowledgment section of the book.
I needed to glean from the experiences of experts to make the scenes as realistic as possible. Furthermore, in my novel, my main characters are mostly police officers. I visited the Headquarters of the Anambra State Police Command in Amawbia, Awka, where I had the opportunity to interview the PPRO and learn specific details about the police force.
I also achieve this by reading a lot of thriller books set in the US, UK, and Nigeria. From there, I study what works, learn as much as I can, and strive to improve. I encourage all genre fiction writers to do the same. I strongly believe that stories must be realistic and relatable, even if they are futuristic. My newest novel, “Along Came a Tempest”, has near-futuristic elements but remains realistic and relatable. Stories must make sense within their worlds, even if they are fiction. That’s the only way readers can suspend disbelief and invest time in reading, digesting, and enjoying them.
Additionally, many of my stories are born from my powerful imagination and childhood experiences.
As for a role model, I certainly have people I consider role models. One of them is Tess Gerritsen, an author and retired medical doctor.
I read Tess Gerritsen’s medical thriller, “The Surgeon”, around 2020 or 2021. It profoundly impacted me and inspired my first crime-psychological thriller novel. Most of Gerritsen’s books feature very realistic serial killers, and my own writing naturally followed suit.
I also learned how to portray the thoughts of a serial killer in the most realistic way by reading her books. Therefore, in my crime novels, I often write from two points of view — one being the first-person POV of the serial killer. This is often compelling, and I adopted the technique from her works.
Another author I admire is James Patterson. Collaborating with him would be a dream. I have read a couple of his Alex Cross thrillers, which also inspired and formed the foundation of my own.
I also admire authors like John Grisham, David Baldacci, and Steve Cavanagh. I have learned a great deal from their works. Their stories inspire me immensely.
I also love African writers such as Chimamanda Ngozi Adichie and Chinua Achebe. Their books have had a profound impact on me. I am inspired by their stories, careers, legacies, and literary activism. Adichie’s stories were particularly helpful when I began writing my first book.
However, if I had to choose a role model specifically in the crime/psychological thriller field, it would undoubtedly be Tess Gerritsen.
IO:
Apart from founding GATA, you are also the Founder of the Nneoma Michelle Egeonu Reading Initiative, which hosted the first National Reading Contest (NRC) in Nigeria. What motivated you to launch this contest, and how was the experience, organising it for young Nigerians aged 11-16?
NME:
After I launched my novel, “In Broad Daylight”, in 2023, it received a lot of positive recognitions, surprisingly much of it from children.
Many children read the book, many wanted to read it, and they were impressed by it. One child read the almost 400-page book in three days; another read it in just seven hours. The young girl who read the book in three days was only in primary six and about nine years old. This remarkable feat earned her a scholarship to see her through secondary school.
The massive reception of my novel, particularly among children, inspired me to conduct a poll in 2023 about organising a competition for children using the novel. The response was overwhelmingly positive.
I discussed the idea with a few friends, including Precious Osikha, and brainstormed and outlined the concept. In January 2024, I announced it, and it blossomed into the National Reading Contest (NRC), organized in partnership with my NGO, the Nneoma Michelle Egeonu Reading Initiative, which I launched in early 2024. The organisation is dedicated to empowering young Nigerians through education and aligns with the United Nations’ Sustainable Development Goal 4: ensuring inclusive and equitable quality education for all.
It was an enlightening experience, though not without its challenges, which stretched me beyond my limits as I had never handled such a huge project before.
However, I was glad that my small team and I pulled it off. The competition was announced in January but did not take place until September 2024.
For about seven months, we engaged in extensive social media marketing, advertising, and campaigns to raise awareness. We also had volunteers conduct school outreaches, starting in Nsukka, Enugu State, and even Abuja, FCT.
We contacted school administrators, and I wrote to the Anambra State Commissioner for Education and some international organisations; though we received no support from them.
Furthermore, the printing and distribution of the books used for the contest, as well as the prize money, were challenging aspects of the project.
During the competition, the children were given several months to read my novel, “In Broad Daylight”, before engaging in the contest. They were judged by a panel, and winners received prize money. Every contestant also received a certificate of participation.
I would say that the NRC has ignited a passion for reading and creativity among many Nigerian children and teenagers.
Even in the face of setbacks, I remained resilient. My unwavering belief in the power of education propelled the NRC to new heights.
Beyond the NRC, as I mentioned earlier, team members conducted numerous literacy outreaches in a few schools across Nigeria to inspire young minds.
My chief aim for the NRC, in addition to promoting a reading culture, was to encourage critical thinking and social awareness through books. This was why the qualified contestants read my crime-psychological thriller novel and were tested on their understanding of it.
Today, the overall winner of the contest is being supported through secondary school by the Nneoma Michelle Egeonu Reading Initiative, with the help of an anonymous supporter. I hope that we can continue to provide such opportunities to more children, especially the less privileged, across Nigeria and Africa, with the assistance of well-meaning organisations and individuals.
IO:
The National Reading Contest aimed to encourage reading habits and literacy among Nigerian youth. What were some of the key outcomes of the contest, and how do you plan to sustain or expand this initiative in the future?
NME:
Well, the National Reading Contest was a groundbreaking initiative aimed at encouraging reading habits and literacy among Nigerian youth. I believe that our children are our future and must be prioritized.
As the founder of the Nneoma Michelle Egeonu Reading Initiative, I’m happy to share some key outcomes of the contest and our plans for future expansion.
The contest was an extensive and challenging yet rewarding experience. We launched massive social media campaigns and organized outreaches to schools. I also wrote to various organisations. Additionally, there were volunteering opportunities to ensure the contest’s success. I was surprised by the massive response I received when I announced that the NRC needed team members/volunteers. We had teams, sub-teams, and group leaders and held weekly team meetings.
Although most of the volunteers were very enthusiastic at the beginning, along the line, some lost interest, and I found myself taking up many more roles alongside a few extremely dedicated volunteers.
Despite the challenges, we received an overwhelming response from young readers across Nigeria.
The contest was designed to give participants enough time to read the selected book — “In Broad Daylight” —after which they were asked a series of questions by approved judges. We made sure they engaged in the contest during the long vacation so that it would not interfere with their academics.
The winners were selected based on their performance, and all participants received a certificate of participation as encouragement. I made all the children and parents understand that everyone was a winner because they had successfully participated in such a challenging contest, even though we announced a few winners at the end. The aim was not just to win the prize money but to acquire skills in the process.
Furthermore, I ensured that every child had a signed certificate of participation, which made the parents very happy as it served as evidence of participating in such a national contest.
At the beginning, when I announced the contest, I received responses from prospective participants all over Africa and even abroad. However, I informed them that the maiden edition was for Nigerian children living in Nigeria.
My hope is that subsequent editions will be expanded beyond the country and even the African continent. As lofty as these dreams are, I hope to receive support to enable me to champion the National Reading Contest on a bigger platform.
Running the National Reading Contest as an individual with a small team was a very daunting task, and I hope that it can be institutionalized as an official competition in the future. To achieve this, we’re seeking partnerships with organisations, grants, and support from well-meaning individuals.
Our plans for expansion include institutionalizing the contest through collaborations with educational institutions, government agencies, and literary organisations. We also plan to increase participation by reaching out to more schools, libraries, and community centres and expanding the contest categories to cater to different interests and talents.
Additionally, the Nneoma Michelle Egeonu Reading Initiative hopes to provide more resources, such as reading materials, workshops, and mentorship programmes, to help participants improve their reading and writing skills.
By expanding the National Reading Contest, we aim to create a culture of reading and literacy among Nigerian youth, empowering them to become active participants in their communities and future leaders.
IO:
During your recent interview on NTA Channel 5 Abuja, you discussed the topic “Beyond Literary Fiction: Exploring Other Genres in Writing Fiction in Nigeria”. What were some of the key points you raised during the discussion, and how do you think the conversation can influence the Nigerian literary scene?
NME:
The interview was detailed, but I have broken the questions and answers down below. I also rephrased some questions:
Interviewer: What is literary fiction, and what is the difference between genre fiction and literary fiction?
Me: Literary fiction primarily focuses on exploring the human experience through character-driven narratives. It delves into the complexities of human nature, exploring motivations, relationships, and the inner lives of individuals. In contrast, genre fiction, such as thrillers, adheres to specific formulas and conventions, is more plot-driven, and often offers readers shocking twists and turns. Examples include crime, legal, historical, and science fiction.
Interviewer: How diverse are the genres explored by African/Nigerian writers?
Me: While literary fiction has traditionally dominated the African literary scene, a growing number of writers are venturing into diverse genres, including thrillers, science fiction, and fantasy. However, many of these works remain unpublished or under-recognised because Nigerian/African thrillers are not yet as appreciated as they should be.
Interviewer: What opportunities and challenges do African/Nigerian genre fiction writers face?
Me: One major challenge is the fear of not being accepted or validated by the literary establishment. Limited funding for writers also poses a significant obstacle. Additionally, reaching a wider audience can be difficult due to limited platforms and recognition for genre fiction.
Interviewer: How does the Nigerian reading public perceive genre fiction from Nigerian writers?
Me: There is a growing interest in Nigerian thrillers, but the market is still dominated by literary fiction and foreign thrillers. However, the rise of independent publishing platforms like Amazon has provided greater access for writers. More needs to be done to educate the public about the richness and diversity of Nigerian/African genre fiction and thrillers.
Interviewer: What opportunities exist for genre writers in Nigeria/Africa?
Me: Independent publishing has democratized the publishing process, empowering writers to self-publish and reach wider audiences. Platforms like Amazon and Selar provide ample opportunities for writers to publish their stories.
Also, GATA aims to provide crucial support for African thriller writers by amplifying their voices and connecting them with readers. I believe that fostering a more enabling environment for creative expression is crucial for the growth of genre fiction in Africa.
Interviewer: How developed is the market for Nigerian thrillers?
Me: While there is a growing interest, the market for Nigerian thrillers is still developing.
Overcoming the perception that African stories are solely focused on poverty, war, and suffering is crucial. We need to showcase the diversity and richness of African experiences through compelling and engaging thriller narratives.
Interviewer: What is the future of African thriller and genre stories?
Me: The future of African genre fiction is very bright. We are witnessing a surge of innovative and boundary-pushing narratives that challenge stereotypes and showcase the true diversity of African experiences. Additionally, the increasing availability of audiobooks and the potential for film adaptations will further expand the reach of African stories on a global scale. The GATA anthology serves as a testament to the power and potential of these emerging voices.
Interviewer: What advice would you give to aspiring thriller writers?
Me: Don’t be afraid to tell your stories authentically. Don’t be afraid to own your voice. Focus on crafting compelling narratives that resonate with readers. Read widely, learn from established authors, and network with other writers. Embrace social media as a tool for marketing and building your audience. Most importantly, own your voice and let your unique perspective shine through.
IO:
Your educational initiatives, such as writing workshops, literacy programmes, and author mentorship, have empowered many African writers. Could you share some of the challenges you’ve faced in these efforts and the impact you’ve seen so far?
NME:
As a passionate advocate for empowering African writers, I’ve faced numerous challenges in my educational initiatives, and one of the most significant hurdles has been funding. Having ideas is one thing, but securing sufficient funds to bring them to life is a different story altogether.
A case in point is the National Reading Contest I organized in 2024. While the contest was a massive success, the financial burden was substantial. The prize money alone was approximately 500,000 naira, excluding the additional 500,000 naira spent on printing and delivering books to various destinations. Furthermore, I also had to personally cover the costs of volunteering, outreach, and logistics.
As an individual with minimal support who had to carry the burden of these expenses (with very few well-meaning individuals supporting the contest financially), it was a daunting task to undertake. However, I was determined to see it through.
Another challenge I’ve encountered is getting the word out about my initiatives.
Despite their impact, they often don’t receive as much attention as they deserve.
It’s disheartening to see that controversy and sensationalism tend to trend more on social media, while meaningful efforts like mine sometimes fly under the radar.
I hope that by continuing to push forward, I can garner more publicity and support for my initiatives.
Time management has also been a significant challenge. As someone living and working in the UK, balancing my hectic work schedule with my writing, personal life, and literary activism initiatives can be overwhelming. I often find myself wishing for more time to focus on my books and initiatives. Completing my master’s degree in 2023 while simultaneously pursuing my writing career was also very challenging. So, I was pleased when I successfully graduated in 2023 in the UK with honours.
Additionally, building trust with others is also a challenge. In today’s world, where scammers are rampant, it’s understandable that people are cautious.
However, I’ve been very fortunate to have built a reputation that has earned me the trust of many. My growing social currency and the popularity of my works have helped to establish credibility. This also helped the parents of our contestants to trust our team during the National Reading Contest.
Despite these challenges, I remain committed to making a positive impact, one step at a time. I’m hopeful that I’ll receive support and collaboration opportunities from reputable organisations and individuals who share my passion for empowering African writers.
IO:
What are your thoughts on the current state of African thriller literature? Do you believe African thrillers have gained enough global recognition, and if not, what more needs to be done?
NME:
The current state of African thriller literature is very promising, with a growing number of talented writers making significant contributions to the global literary space. However, I believe that African thrillers have not yet gained sufficient global recognition. Some may even consider African thrillers as an afterthought.
Despite the richness and diversity of African cultures and experiences, many international readers and publishers still overlook African thriller writers. Some remain interested in stereotypical stories about Africa or ‘poverty porn’.
This is very concerning, and I think a lot of the global audience is missing out on the richness of African thrillers. Our unique perspectives, experiences, culture, languages, mythology, etc., can add significant impact to global stories. To change this narrative, I think more needs to be done to promote African thriller literature globally. This includes increasing visibility through social media, literary festivals, and book tours. We also need more publishers and literary agents willing to take on African thriller writers and provide them with the necessary support and resources. I think it’s also very important to create our own awards rather than just waiting for recognition by organisations such as The New York Times to validate us.
IO:
As someone deeply involved in mentoring authors and promoting literacy, how do you balance your personal writing career with your roles as an activist and organiser?
NME:
As someone deeply involved in mentoring authors and promoting literacy, it can be daunting. But I try my best to prioritise my time and focus on my goals. I also write down my to-do list daily, and this helps me to stay very productive.
I allocate specific times for writing, activism, and organizing, ensuring that each aspect receives the attention it deserves. Although many times I multitask as well, I also outsource or delegate certain tasks so that I can focus on the most important things.
Daily, I set lots of alarms, even for the most ridiculous things, but this helps me stay focused in a very noisy and busy world.
If I have a goal to meet, for instance, I need to finish a manuscript; I subject myself to intense pressure, and this could mean waking up very early to write or creating time to write even while I am at work.
One of the things that has helped me is accountability. I have a few trusted author friends to whom I am accountable, and we even created an accountability group. These same people formed the foundation and became the pioneers of GATA.
I recognize the importance of self-care and try to make time for activities that nourish my mind, body, and soul. I also love good food and ensure I eat well, as well as take supplements.
By being intentional with my time and energy, I’m able to balance my personal writing career with my roles as an activist and organiser.
IO:
The GATA Anthology and other GATA initiatives highlight the diverse voices in African thriller literature. What criteria do you use to select the authors or stories you promote, and what unique qualities do you think African thrillers bring to the global literary stage?
NME:
To be considered for GATA, authors must meet specific criteria, including writing actual thrillers, having published at least one book, demonstrating strong writing skills and engaging storytelling, committing to long-term participation, planning regular releases, maintaining a professional online presence, and being willing to work collaboratively with other GATA authors. You don’t need to be a popular author; just demonstrate a good work ethic, and you can be considered to join GATA.
At the moment, we aren’t actively looking for many new members. We may need just a few because we want to ensure that the foundation of GATA, which is a relatively new organisation, is strong. However, we have platforms on WhatsApp, Facebook, Instagram, and TikTok where our fans and followers can also interact with us.
As for what African thrillers bring to the global stage, I believe that African thrillers offer unique qualities, including diverse perspectives, rich cultural heritage, and fresh storytelling voices. African thrillers often blend traditional genres with local flavours, creating something entirely new and exciting. By promoting African thriller literature, GATA aims to showcase the richness and diversity of African cultures and experiences.
IO:
For aspiring writers who are interested in exploring thriller or genre fiction, what advice would you give them, especially when it comes to blending African narratives with popular global genres?
NME:
For aspiring writers interested in exploring thriller or genre fiction, I would advise them to read widely and often, paying attention to structure, pacing, and character development. I also encourage them to experiment with different styles and genres, finding what works best for them.
When blending African narratives with popular global genres, I recommend staying true to your cultural heritage while being mindful of stereotypes and tropes. Draw from your experiences, traditions, and myths to create something authentic and unique.
Additionally, African writers should not be afraid to tell their stories. Don’t be afraid to exercise your creativity. Focus on the truth. Focus on authenticity. Do not focus on fame. Own your voice. Read, read, read as widely as you can, and do not be afraid to experiment while remaining authentic.
IO:
Looking ahead, what are your future plans for GATA, your educational initiatives, and your personal writing career? How do you hope to inspire and impact the next generation of African writers?
NME:
Looking ahead, we plan to expand GATA’s initiatives, including publishing more anthologies, hosting writing workshops, and establishing a mentorship programme. We also hope to establish an academy for GATA where readers can come and learn a lot about thriller writing as a whole.
I also hope that the National Reading Contest can be institutionalized, making it a regular, nationwide event.
For my personal writing career, I’m working on several projects, including a new dark, crime-psychological and near-futuristic thriller novel titled “Along Came a Tempest”, which will be published this year; a legal thriller novel based on a real-life experience; a children’s faith-based book; and a few other works.
I aim to continue pushing the boundaries of African thriller literature, exploring new themes and genres while remaining true to my cultural heritage.
IO:
Nneoma, you are not only a brilliant and accomplished writer but also a beautiful and charismatic lady making waves in the global literary landscape. How do you balance your beauty, social life, and thriving career, especially your demanding writing journey? And with all the admiration and attention you undoubtedly receive, particularly from men, how do you handle the ‘distractions’ and stay focused on your goals?
NME:
Hahaha. Well, attention comes from men a lot, although I feel like the expectations about the attention I receive from men may be a bit exaggerated. Lol.
As a writer, activist, and public figure, I’ve learned to balance my beauty, social life, and thriving career by prioritizing my time and energy.
In our world, a world of technology, social media, and information overload, it’s incredibly easy to get distracted.
I try to focus on what’s truly important, delegating tasks when possible and taking care of myself physically, mentally, spiritually, and emotionally.
When it comes to handling distractions, particularly from men, I think that as I get older, it comes with more maturity, and so I try not to be rude to admirers, especially when they are respectful. But if they are not respectful, I will try to ignore and possibly delete them from my social media space because I need to protect my energy.
Also, I believe I am a very determined, focused person with a clear sense of purpose. I know what I want to achieve, and I’m not easily swayed by external validation, expectations, or attention.
My personal fulfilment comes from achieving the goals I set for myself and not the ones society sets for me. It also comes from recognizing my uniqueness as a person and as a woman.
I mean, I also try to own my beauty and use it as a positive tool to drive change in my literary activism field.
IO:
Anything else you wish to say that is not covered in the questions?
NME:
I would love to address young writers, particularly on the use of AI. I know that we now live in a world of Artificial Intelligence, and it can serve as a tool to help us as writers. However, I find it very disturbing when I see young, aspiring writers viewing AI as a god rather than as a tool.
Many of them give AI their story prompts and then copy the answers from start to finish. I find it very troubling, as it obviously limits creativity and critical thinking while encouraging laziness.
Imagine a world where everyone sounds the same because of AI. And hey, no matter how much you paraphrase it, any AI expert can tell that you copied and pasted AI.
I think that we should be in control of technology and not allow technology to control or replace our God-given gifts and talents.
We are unique beings, and it doesn’t matter how advanced AI becomes in 100 years; it will never be able to replace humans completely.
So, I encourage writers to please stop relying entirely on these apps. Instead, focus on your innate abilities and use the apps (if necessary) to polish what you have written while still retaining human beta/alpha readers, reviewers, and editors. These can’t be replaced by AI because our unique perspectives make us distinct, and AI lacks those perspectives—it merely works based on the information and algorithms it was trained on.
Furthermore, I’d like to emphasize the importance of community and collaboration in achieving our goals.
As African writers, we must support and uplift each other, sharing our experiences, knowledge, and resources. I’ve seen a couple of writers complain about classism in certain writer circles. This classism also exists in circles occupied by some professional book reviewers. I know a couple of writers who are looked down upon by such writers and book reviewers, and I find it ridiculous at best. Some of these book reviewers “worship” certain authors and look down on the rest, which I think is incredibly stupid.
The absence of classism is part of what we champion at GATA, where we hope that every committed writer can be given a chance to excel irrespective of their background, fame, or lack thereof.
Additionally, I would like to encourage readers and writers to explore the richness and diversity of African cultures and experiences. As much as we celebrate foreign books, let’s also celebrate our unique perspectives and voices and encourage African writers because I tell you, it’s not easy to be a genre fiction writer.
Finally, I think we should illuminate the African literary space with our collective brilliance and the wonderful contributions and feedback from our lovely readers.
IO:
How do people find you, your books, and your writing activities online?
NME:
My published books are available at the Rovingheights Bookstores (Lagos and Abuja), Amazon and Selar.
For our activities, follow GATA on Facebook @ Great African Thriller Authors
Instagram and TIk Tok: @ Africanthrillerauthors
Also follow us on Facebook and LinkedIn @ The National Reading Contest with Nneoma Michelle Egeonu
and @ The Nneoma Michelle Egeonu Reading Initiative
You can also reach out to me by following my personal pages on social media:
On Facebook: Nneoma Michelle Egeonu
On Instagram: @nneomaegeonu
Thank you.
