Mercy Kirui is eKitabu Senior Manager for Publishing and was a Frankfurt Fellow at the Frankfurt Book Fair 2024. She spoke to Books in Africa about the challenges and opportunities that African publishers faced at the fair, including the need for stronger representation, the importance of hitting local markets first, and the evolving role of African authors on the global literary scene. The voices of African publishers are finally being heard, she says, and this opens up fresh perspectives and doors for meaningful conversations about the continent’s place in global publishing.

One of the world’s most prestigious publishing events, the Frankfurt Book Fair is a global meeting point for publishers, authors, rights agents, and industry professionals. This year, the FBF—as it is sometimes called—attracted over 4,300 exhibitors from more than 100 countries and hosted more than 3,300 events. With a history spanning over 500 years, the fair began as a marketplace for handwritten books and has since evolved into a global hub for publishing rights and licensing negotiations. 

How did it feel to be the only African fellow this year?

It all came down to building the right relationships. This wasn’t our first time applying; we initially submitted our papers around May last year but were rejected. Later, in November, our founders Will Clurman and  Matt Utterback travelled to Frankfurt and had the chance to connect with the fair’s organisers. It was through building these connections that we finally received an invitation. I have realised that with fellowships like this one, it is essential to have someone on the inside who knows you and sees your commitment. It's not just about applying, but showing that you genuinely deserve to be there. The second time we met with the fair organisers was at the London Book Fair in March, where I was able to join. That’s where I met Martina at the German stand. We had a great conversation, showing the importance of relationships in this process. Martina encouraged me to simply follow the steps and keep an eye on the deadline, which I did. Having already engaged with the organisers made a real difference.

How do you feel your perspective was received?

I felt that my perspective brought something unique and essential to the fellowship experience. I believe this was the first time they had an African fellow. During our country presentations, one of the organizers shared with me why it had taken so long to include an African fellow. She mentioned they had struggled to find someone they felt represented what the fellowship sought. The main reason for this, I gathered, was the difference in publishing focus. In Africa, much of the publishing is dedicated to educational materials, while Frankfurt emphasises literature, particularly grown-up literature—publishing primarily adult fiction and non-fiction. That doesn’t mean there aren't African publishers producing grown-up literature, but many are specialised in education. In Frankfurt, it seems there’s a need to choose a focus, whereas some large publishers like Penguin Random House cover both literature and educational content. It was eye-opening to see the distinctions in publishing focus across regions.

What messages about African literature did you aim to convey?

First, I wanted to emphasise that we, as Africans, are fully capable and deserving of representation. I hope that we'll continue to have an African representative in the years to come. We have incredible African content to share with the world.

Second, apoint that came up in many conversations was the lack of an accessible African literary agent or a comprehensive African rights catalogue. In other regions, agents and rights catalogues make it easy to identify and access content, but such resources are limited for African literature. Although some initiatives exist—like the African Rights Catalog, which is managed by a South African woman who curates books from across Africa—this is still in development. Having a well-established rights catalogue for African literature could bridge this gap and make it easier for international publishers and agents to discover and support African creative works.

How did this fellowship shape perspectives about African publishing?

Having an African representative in the fellowship sent a powerful message—it reminded everyone that Africa has often been overlooked, but now there’s clear potential to showcase African talent on the global stage. People are starting to pay attention, wondering if Africa can deliver the kind of content they’re seeking. Traditionally, the African books that gained international attention, like those by Chinua Achebe or Chimamanda Ngozi Adichie, were first published in the UK or US. But we need to bring in fresh talent—new voices that reflect the contemporary African experience.

It was exciting to introduce authors like Scholastica Moraa and Emmanuel Ngwaimbi, who represent a new generation of African writers, including Gen Z authors. This new wave of talent signals to the world that there’s much more to African literature than what’s been seen before—young, diverse voices that are redefining the narrative.

Given that Frankfurt did not have a dedicated stage for African publishers, do you still believe the fair remains relevant for Africa?

It is. I think it’s a promising step for Africa to be more present on the global publishing stage. Many countries had dedicated spaces—entire sections representing their country, with their own stages, panel sessions, and discussions. It reminded me of last year’s setup at the Nairobi International Book Fair, where each space embodied the identity of a country. Africa should have a similar presence, and I believe the African Publishers Network (APNET), which unites publishers across the continent, could play a key role in organising this. However, it may need support as the costs for a large stand are substantial.

Right now, Africa typically has a pavilion—a smaller space where different publishers display their books. While it’s wonderful to see African representation, the space is often limited, and I could see the need for a more prominent, unified presence. The fair does have an invitation programme, which included several African participants this year. But I think African publishers could come together to find funding and create a stronger presence. It’s about strategy and collaboration.

So, were you the only African publisher with a rights table at Frankfurt?

When it came to rights discussions, particularly in the Publisher Rights Centre, there was a noticeable lack of African representation. In fact, we were the only African table there, in a space dominated by rights agents and publishers from other parts of the world.

This situation presents both a challenge and an opportunity. On the one hand, it is clear that African publishers are underrepresented in this global arena, which makes it harder for us to participate in rights negotiations on the same level as other regions. On the other hand, being the only African presence there meant we had a unique opportunity to raise awareness and start forming connections that could help shift this dynamic in the future.

This gap in representation is something that African publishers must address moving forward. There’s a real need for collaboration within the African publishing community to ensure that we not only have a presence at international events like Frankfurt, but that we also become active and influential players in the global publishing ecosystem. It is crucial for African publishers to become a part of these rights discussions—not just as attendees, but as key contributors to shaping the future of publishing globally.

Tell me more about your panel session,  “The Next Global Bestseller by an African Author Will Be a Hit in Africa First.”

The audience was good, though not large. FI really appreciated Scholastica’s contribution—she truly poured her heart into the conversation, addressing real issues surrounding her book When Love Says Goodbye. The contrast between the two generations—Emmanuel, representing an older generation, and Scholastica, embodying Gen Z—was striking. Their different writing styles and approaches were evident, and it sparked an insightful conversation. Emmanuel, who is based in the US and has been there for 38 years, is originally from Cameroon. I asked him how he, as an American now, can write authentically about Africa. His response was confident: “Why not?” It really got me thinking about how, even with the distance, African writers can still claim a powerful connection to their roots.

Despite not having a dedicated stage, this panel was our stage—an opportunity for Africa to be seen on the international platform. Many publishers didn’t bring their authors, but we made sure to bring Scholastica and Emmanuel. It was a chance to spotlight African voices and engage in a meaningful conversation about the future of African literature on a global stage.

What are your final reflections and how will you be applying those insights at eKitabu? 

I learned a lot from this experience, and it solidified some of the steps we need to take moving forward. We've already started discussing how to effectively promote authors, balancing that with building sales. We also reviewed various catalogues from different publishers, and I now have a better sense of what we should prioritise. One thing that really stood out is the importance of making sure that the books we publish align with market demands.

In our publishing pipeline, we already have some great titles that we believe will resonate with readers. But something that struck me is the idea that, in order to sell rights internationally, we have to show that our books have been successful in our own markets first. No one is going to be convinced to buy rights for a book that hasn’t already gained traction in its home country. This is something I reflected on, especially in comparison to how the works of African authors like Chimamanda Ngozi Adichie and Ngũgĩ wa Thiong’o's are often published first in the UK or US before making it to Africa. The reality is that these books aren’t even available on the continent initially. They have to be shipped in from abroad, which leads to issues like piracy.

This highlights a key challenge we need to address in Africa: protecting our authors' content. If these books are being published internationally, we should also have editions released here, ideally as the first editions. We need to make sure that our authors’ works are available to African readers first, and then rights can be sold for translation and distribution elsewhere. We don’t need much from external markets to make this happen—we can handle it ourselves. This is something I’m really passionate about moving forward.

Tracy Ochieng is a staff writer with Books in Africa. Email: tracy.ochieng@ekitabu.com