Award-winning writer and author of When We Were Fireflies, Abubakar Adam Ibrahim, says the writing process for his latest book was both impulsive and compulsive: ‘I say compulsive because it was a story that took hold of me and wouldn’t let me go until I had poured it all out.’
First Draft is our interview column, featuring authors and other prominent figures on books, reading, and writing.
Our questions are italicized.
What’s the last thing you read that changed your mind about something?
I’ve found that much of what I read either reinforces my existing perceptions or, like Zukiswa Wanner’s Vignettes of a People in an Apartheid State, deepens my understanding of situations, such as the one in Palestine. I think I have arrived at my opinions about things from a perspective of knowing and with an open mind and haven’t had to make a volte face about situations by a superior argument.
What is your writing process: edit as you write or draft first, then edit?
I usually write the draft first. I used to write and edit on the go but realized I was devoting so much time to the entire process, so I had to adapt and change. I realized it was easy and faster to finish the draft as quickly as the story and circumstances allow and then to edit afterward.
Your debut novel, Seasons of Crimson Blossoms, won the won the 2016 NLNG Nigeria Prize for Literature. What was your process for writing this book?
Now that was the time I was writing and editing at the same time, so it took a lot longer to finish a draft. It was in bits and pieces. There were extended periods of writing splurges when I stayed up most nights working on the story. Other times it was one or two sentences a day. Other times it was writing a thousand or two thousand words that you have to delete later. At some point, I had to accept that it was better to have words to delete than not to have it at all because it means you are working and mentally engaged with the work.
I’ve found that much of what I read either reinforces my existing perceptions or deepens my understanding of situations.
How similar or different was it from the writing process of your latest novel, When We Were Fireflies?
Completely different. They are not the same in any way. The process was very different. When We Were Fireflies had such a hold on me, such a violent and forceful hold that I had to write it all and put it on paper whereas with Season of Crimson Blossoms, it took its sweet time to pour out as I mentioned. With Fireflies, the writing was both impulsive and compulsive. And I say compulsive because it was a story that took hold of me and wouldn’t let me go until I had poured it all out.
What inspired this story?
It is a series of questions, I suppose. What is the fate of love after death? What is the fate of the soul after death? What if someone remembers their past life? Or lives? And what if they remembered the people who killed them or loved them in those previous lives. It is also an exploration of the cyclical nature of the habitual violence we practice on each other and how one violence leads to another and how love and hate are intertwined in a very bizarre way.
And what’s one thing about the reactions to the novel that surprised you?
I am just glad that people seemed to like the novel and all the reviews have been positive so far.
What books would you say are in conversation with your novel?
Tough one. When We Were Fireflies is a whole different beast, I guess. It is a story that cuts across genres. On the whole, it could be classified as magical realism, but at the heart of it is realism. It is a love story but is also a story of hate. It is a story of enduring trauma, but it is also a story of redemption and hope and the enduring power of love. It is both a contemporary fiction because of its engagement with the present and historical fiction because of its constant foray into the past and its deep roots in the events of the past. It has a lot of travel too. So, if you ask me what books are in conversation with it, I’ll say maybe not one but a few.
At some point, I had to accept that it was better to have words to delete than not to have it at all because it means you are working and mentally engaged with the work.
You have worked on numerous books, what’s something simple but surprising about writing and publishing a book?
Every story has its own spirit and demons. Every story has its own demands.
What books by Nigerian authors would you recommend to readers?
We are living in interesting times in terms of the literary outputs by Nigerians. It is fascinating to see the number of books coming out and the quality of these books. I would recommend everything published because there are really good ones, but if I am to be specific, I would recommend Ayọ̀bámi Adébáyọ̀’s A Spell of Good Things. Othuke Ominiaboh’s Aviara has not got the attention it deserves, to be honest. I would recommend Bisi Adjapon’s Daughter in Exile. I would also recommend Umar Abubakar Sidi’s forthcoming novel, The Incredible Dreams of Garba Dakaskus. I am curious what the reactions are going to be to that most unusual novel. For political intrigue, Odafe Atogun’s political novel, The Cabal, is the koko. Chika Unigwe’s The Middle Daughter is a good story about family drama. In terms of speculative fiction, I will recommend Wole Talabi’s Shigidi and the Brass Head of Obalufon, as well as Oyin Oyibuile’s Sanya. For non-fiction, Emmanuel Iduma’s I am Still with You should be on everyone’s reading list as should Dipo Faloyin’s Africa is not a Country. I could go on and on.
Which books would you recommend to people who don’t usually read books set in Northern Nigeria?
I have already mentioned Umar Sidi’s Incredible Dreams of Garba Dakaskus. I would also add Richard Ali’s City of Memory, as well as the novels of Audee Giwa, Zainab Alkali, Fatima Alkali, and Safiya Yero. You should also check out works by Edify Yakusak. There are also anthologies of short stories like Ordinary Saviour, which Richard Ali and I edited, featuring stories about the Northeast from people who are from there or live there, before, during, and hopefully after Boko Haram.
Which Nigerian writers working today do you admire most?
I admire every writer working today because I know how hard it is to write. But I reserve a lot of respect for those working in Nigeria, the ones who are published and the ones struggling to be published because of how hard it is to work there. Yet, we keep working, pushing, and achieving. It is remarkable. Most importantly, I have incredible admiration for publishers working in the really difficult landscape that is Nigeria. These are the people who are creating platforms and trying to make a business out of making the dreams of these writers possible. Shout out to them.
When We Were Fireflies is a whole different beast. It is a story that cuts across genres. On the whole, it could be classified as magical realism, but at the heart of it is realism. It is a love story but is also a story of hate.
What’s a book on your bookshelf that might catch people by surprise?
I don’t know. I have been reading a lot of academic texts recently, but other than that, I don’t think there would be anything surprising there.
Which book genre do you love to read, and which genre do you completely avoid?
I avoid erotica and romance novels. I find them staid, predictable, and frankly boring. Everything else is fair game, especially if the story is really good. I am a sucker for good stories told well.
What’s the best book you read in 2023?
There are quite a few. Leye Adenle’s The Beautiful Side of the Moon, Kalaf Epalanga’s White Can Dance Too, and Leila Aboulela’s River Spirit. Some brilliant manuscripts too by writers like Zukiswa Wanner and more.
What book or text are you looking forward to reading in 2024?
I have Abraham Varghese’s The Covenant of Water on my shelf. I hope to read it this year. It is a massive book.
And what’s a writing goal you have for the new year? Are there specific genres or styles you want to explore in your writing in 2024?
To write as much as circumstances allow.
I admire every writer working today because I know how hard it is to write. But I reserve a lot of respect for those working in Nigeria, the ones who are published and the ones struggling to be published because of how hard it is to work there.
What are you currently working on?
I am working on several things. I am working on a new novel and collaborating with other incredible authors on a project and working on several writing workshops to boost the capacity of writers in Nigeria.
In your most literary way, how would you summarize the 2023 you had?
A year of exhilaration, frustration, fascination, and all together one with spice, like pepper soup, finely made or otherwise. It depends on when it is being consumed.
Question from DK Nnuro: What is the one thing you regret not doing before your latest book came out?
I honestly can’t think of anything.
Bonus: Please suggest a question for a future author’s First Draft.
What experience of a character you have written has affected you the most?⎈
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