Publish at February 27 2024 Updated February 27 2024
Digital publishing platforms enable individuals and businesses to publish, distribute and monetize their content online. With the growing popularity of electronic media consumption, publishers, authors and businesses of all sizes have turned to digital publishing platforms.
More than 60% of the population regularly access digital content, which has contributed to market growth. Faced with increased competition, publishing companies are finding it harder to reach their target audience. Publications that previously focused on print-first strategies are now concentrating on digital-first strategies in the marketplace. Compared to traditional print media, digital media are more cost-effective and can reach a wider audience in the marketplace[1] . With digital publishing platforms, publishers can also track analytics, enabling them to make better decisions about their content in the marketplace. The ability to publish content on a digital platform has also made it more accessible to a wider audience, making content more widely available to a wider audience[2] .
The advent of digital publishing platforms in Africa has enabled greater flexibility, easier distribution and lower production costs, offering a variety of benefits to content creators and publishers. Some African publishers and content creators have been quick to embrace the digital revolution, while others have been more reticent, seeing it as a threat, when in fact it complements print publishing [3] . The early adopters, however, faced a number of challenges, such as lack of digital infrastructure, access to technology and electricity, and so on. In this article, we will present the main initiatives in the digital publishing sector and the main challenges they have overcome.
To overcome cost and price barriers, digital publishing offers profitable solutions to authors, bypassing traditional gatekeepers and distribution issues.
For example, Moyo Publishing offers a tiered pricing model for its e-books, making them more accessible to readers with varying budgets. It also partners with libraries and educational institutions to secure bulk discounts. In this way, they have improved access to quality children's literature for many African audiences. In addition, Muna Kalati Mag offers a freemium model for its online literary magazine, offering free access to certain content and paid subscriptions for exclusive stories and author interviews. Finally, theAfrican Books Collective also uses aprint-on-demand model to reduce waste and increase efficiency. Okada Books, a former leading digital publishing platform, closed its doors in November 2023, drawing attention to the importance of adopting the right pricing to generate enough profit to ensure sustainability.
On thedistribution front, logistical complexities make it difficult to reach audiences in different countries and regions. Some bold and innovative digital evangelists like Bibi Bakare-Yusuf and Jeremy Weate of Cassava Republic (Nigeria) have been quick to embrace e-books and audiobooks, and are using platforms like Amazon and Apple Books to promote their authors (like Chimamanda Ngozi Adichie) on a global scale.
In addition, Nouvelles Editions Numériques Africaines (NENA), Bambooks, Publiseer and Kreatesell offer authors the opportunity to publish and sell their works directly to readers, taking a 20-30% commission. Initiatives such as The Kwani Manuscript Project and Short Story Day Africa are also fully online. Mobile applications such as StoryMoja and eKitabu in Kenya and NENA in Senegal make e-books easily accessible on smartphones, even in regions with limited internet access[5] . Other platforms are worth mentioning here and here. One success story is Publiseer, which has teamed up with the International Publishers Association (IPA) and the International Publishing Distribution Association (IPDA) to help more than 9,000 African creators earn over $391,000 in revenue.
To overcome the barrier of illiteracy, which exists in many African nations, Worldreader's mobile libraries use tablets pre-loaded with educational and recreational e-books to promote literacy in rural areas, often in partnership with local librarians. They have increased interest in reading and improved reading skills in participating communities. Similarly, the Storymoja Hay festival organizes literary events and workshops across Kenya, promoting reading, writing and critical thinking among children and adults. The festival has reached over 100,000 participants through festivals and outreach programs. YouScribe is also worth mentioning as it has a significant impact on education by providing accessible and affordable learning materials, supporting literacy initiatives and enhancing educational experiences for students[6] .
Language barriers are evident in Africa, and accommodating different languages complicates content creation and marketing. The African Books Collective tackles this problem by encouraging the translation of African literature into different languages, thus broadening the audience for diverse stories. Today, it has translated and distributed over 800 titles by African authors, and its managing director, Justin Cox, has even bigger ambitions.
To overcome the barrier of piracy and intellectual property rights, a major concern for most African publishers and content creators, Muna Kalati and the African Publishers Network (APNET ) advocated stricter copyright protection laws and raised awareness of the negative impact of piracy on the publishing industry. Their awareness-raising efforts have led to the implementation of copyright policies in several African countries. With recent technological development, Bibliotech and PubChain are exploring the application of blockchain technology to track the ownership and distribution of digital content, making piracy more difficult. Although this technology is still in its infancy, it holds the potential for significant progress in the future.
In terms of the skills gap, there is a significant lack of trained publishing professionals in areas such as digital marketing, editing and platform development. To address this shortfall, theAfrican Publishing Innovation Fund (APIF) is offering funding for training programs and workshops for aspiring and established publishers, which could cover topics such as digital marketing, publishing and platform management. Other institutions, such as the British Council and the Goethe-Institut, run the Creative Writing in Africa program, which offers workshops and mentoring opportunities for emerging writers and publishers. Through this program, they have supported the development of several award-winning authors. ALX Africa also indirectly strengthens the technological capabilities of thousands of African professionals from the publishing industry and other sectors.
As you may have noticed, most of the examples I've shared are local, African initiatives that are effective because they were conceived with a better understanding of the cultural and social context. Most of the entrepreneurs behind these initiatives have first-hand knowledge of the logistical, infrastructural and economic realities of the continent, enabling them to develop tailor-made, sustainable solutions. They help to raise the profile and global recognition of African creators. Several studies have shown a steady increase in e-book sales and self-published authors, particularly in countries such as South Africa, Nigeria, Ghana and Kenya[7] .
The future of digital publishing in sub-Saharan Africa is promising, but continued progress depends on resolving the key challenges outlined above, particularly those related to talent development and collaboration[8] . Increased and more strategic collaboration between digital publishers, technology companies and educational institutions across Africa's language regions can drive innovation in content delivery, interactive learning tools and digital reading experiences. Partnering with local authors, illustrators and educational institutions will also foster community engagement and facilitate the production of relevant and impactful digital content.
Unfortunately, many interesting digital publishing initiatives have had limited impact and even died out because the founders worked in isolation. I think this is one of the causes of the death of digital applications like Amadiora, Bibook and so on. It's tragic when you consider that, sometimes, even the world's leading digital publishing platforms realize that they need to join forces to survive or perpetuate themselves. This is the case of BookRix, the operator of Germany's largest independent self-publishing platform, and StreetLib, a leading digital publishing platform serving hundreds of publishing houses across Europe and the USA.
The potential for growth in digital publishing is therefore immense and, in my opinion, as yet untapped, given that we have the world's youngest population, with a growing middle class and increasing internet penetration. This translates into a vast audience hungry for relevant local content[9] . As the sector evolves, it will be essential to build on the lessons learned to ensure the continued growth and success of digital publishing in sub-Saharan Africa. As Chinua Achebe once said, "there's nothing wrong with the new yam not forgetting the taste of the old".
References
[1] Emmanuel Ifeduba, "Digital Publishing Readiness in Nigeria's Print Book Market", Global Knowledge, Memory and Communication, January 1, 2020,
https://www.academia.edu/82516861/Digital_publishing_readiness_in_Nigeria_s_print_book_market
[2] Aurélie Journo, "Réseaux littéraires et médias numériques dans les littératures africaines contemporaines", E-Rea. Revue Électronique d'études Sur Le Monde Anglophone, no. 19.1 (December 15, 2021)
https://doi.org/10.4000/erea.12822
[3] Hans M. Zell, "Publishing and the Book Sector in Africa Today: A Synopsis1", The African Book Publishing Record 49, no. 1 (March 1, 2023): 7-12,
https://doi.org/10.1515/abpr-2023-0002
[4] Christian Elongue, "Comment Améliorer La Distribution Du Livre Jeunesse En Afrique : éBénin Avec Bookconekt.Com et Au Togo Avec Hidiculture.Com | Muna Kalati," accessed January 24, 2024,
https://munakalati.org/mk-talks-n-6-comment-ameliorer-la-distribution-du-livre-jeunesse-en-afrique-situation-au-benin-avec-bookconekt-com-et-au-togo-avec-hidiculture-com/
[5] Hermann Labou, "Some Platforms for Promoting African Youth Content", Muna Kalati (blog), December 26, 2022,
https://munakalati.org/quelques-plateformes-de-promotion-des-contenus-jeunesse-africains/
[6] Kouassi Judicael, "L'apport du numérique dans la distribution et la commercialisation des livres pour enfants en Afrique", Muna Kalati Association, 2023
https://munakalati.org/la-contribution-du-numerique-a-la-diffusion-et-commercialisation-des-livres-de-jeunesse-en-afrique
[7] Rachel Heavner, "The-State-of-Digital-Publishing_-Facts-and-Figures-from-Ghana-Kenya-and-Nigeria.Pdf", January 1, 2018
https://www.academia.edu/38337572/The_State_of_Digital_Publishing_Facts_and_Figures_from_Ghana_Kenya_and_Nigeria_pdf
[8] Christian Elongue, "La faiblesse des réseaux de distribution et de diffusion de l'édition jeunesse en Afrique francophone", Muna Kalati (blog), August 13, 2019,
https://munakalati.org/faiblesse-reseaux-distribution-diffusion-edition-jeunesse-afrique-francophone
[9] Octavio Kulesz, "Digital Publishing in Developing Countries", March 1, 2011
https://www.academia.edu/12736356/Digital_publishing_in_developing_countries
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