What has been dubbed the second Golden Age of Television, the continuing growth of independent technology giants like Netflix and now Amazon, and independent digital media platforms have increased available outlets for adaptations of literary titles. That observation only matters if such titles themselves are also available. For the purposes of this discussion, it matters a great deal because of an abundance of such assets.
For potential impact on podcast industry please click here .
At Bright Skylark Literary Productions, I've been very fortunate in 2019 to see the following: planned publication of long-term projects, the unexpected publication of new book editions in new formats, work included in an important forthcoming art catalog, the continuation of major titles in progress, and the launch of dynamic new undertakings. All of these have put the year 2019--with the year 2020 likely to follow suit-- on track to become a banner year for literary productions:
The innate quality of each of the above literary texts, based on long-standing Bright Skylark values, practices, and goals, lends itself to very effective multi-media film, audio, or digital treatment. Moreover, the recent discovery of a virtual cache of materials utilized by diverse publishers at Issuu demonstrate potential creative uses of it (although sometimes unauthorized) in ways I had not considered.
Connecting with Millions via Issuu
The non-redacted fact of the matter is many publishers and fellow creatives leading up to this 2019 moment have honored my literary labors by requesting use of specific quotes or citations to lend stronger context and substance to particular projects. So it was not surprising to see those pop up in magazines such as the scholarly JSTOR, or in books like Australian novelist Dianne Wolfer's young adult thriller The Shark Caller.
I was surprised, however, when one of my friendly tech-angels took it upon herself to research inclusion of my work by publishers on the Issuu digital platform and discovered an impressive collection of journal credits had been building up for at least a decade. That meant, unknown to me during all that time, my work had been published in digital pages (please see part 2 for details and photo gallery) accessed by millions of readers around the world on a regular basis. This provided further confirmation of various catalogue titles' and in-progress works' adaptability not only to multiple media formats like podcasts but to different cultural demographic contexts.
So what did I think about that?
NEXT: How 2019 Turned into a Big Year for Literary Productions (part 2)
Harlem Renaissance Centennial
That the story of two chroniclers of the Harlem Renaissance should have had its beginning in Savannah, Georgia, in the early 1990s, might seem unlikely but it did. Sandra and I met as writers often do: in a bookstore. I was the manager at a now defunct Waldenbooks store interviewing for a part-time worker and she was interested. The interview turned into a two-person literary salon as, somehow, we started talking about writers of the Harlem Renaissance, the Black Arts Movement, and contemporary art.
Scheduling requirements would not allow me to hire her but neither did it bring our dialogue to an end. Long before either of us would consider working on Encyclopedia of the Harlem Renaissance, within a year she would suggest I consider writing poetry for a book of her then husband Luther E. Vann's art. We would for a time work together on the Savannah Literary Journal, and in her role as an assistant editor for the weekly Savannah Tribune, one of the oldest African-American newspapers in the country, she would publish a feature story on me. We would also team up for different literary programs, so when the time did come to tackle the encyclopedia we were ready, as a team, to answer history's call to duty.
Worthy of Our Ancestors' Legacy
Although we moaned, groaned, and outright blubbered over difficulties encountered completing Encyclopedia of the Harlem Renaissance, the hardcore truth was we were two lit-geeks who would have been disappointed had there not been any major hurdles to overcome and thereby prove ourselves worthy of our ancestors' legacy. If ever any book was worth burning candles at ends we did not even have, it was the encyclopedia. Sandra trusted that I would pull through because I was somewhat younger and had energy enough to carry my multiple loads. I trusted she would pull through because she had one of the finest literary minds and most committed dispositions toward African-American literary culture I had ever encountered. Moreover, it was she who had invited me to join the project.
This is a framed news article titled "A legend’s place" written by Sandra L. West about Georgia civil rights icon W.W. Law. It hangs on the wall of the W.W. Law Center in Savannah, GA. The photo in the lower right corner is of West. The article was published in the Savannah Morning News Black History Month 1996.
The really big surprise was one that often stuns first-time authors. It was learning how much promotional work remained to be done after the writing was accomplished. That was also the fun part with Sandra taking on book signings and interviews up north while I did the same down south. Still, she emailed to remind me it was not enough that we had completed the history-making volume itself. We needed to record the history we were continuing to make through related activities:
"Aberjhani, we need to keep a running list of what we have done thus far. Especially since we have done a ton of public relations stuff ... I know you have been busy on your end and I would like to have at least one major list of things done ... because, you never know. Please plug in what you did... radio interview for Michael Porter and WBAI, the Gusby TV interview, signings, etc. We also need to plug in print reviews, and all those newspaper interviews of you.
By "line of defense" she meant irrefutable proof the success of the encyclopedia warranted additional printings and a revised, maybe expanded, second edition. The follow-up eventually would come in the form of InfoBase’s eBook of the title and its addition to publisher Facts On File's history database. Any plans on an updated edition to correspond with the current Harlem Renaissance centennial never surfaced. Given the significance of the 100th anniversary of the renaissance and the way numerous institutions are observing it around the globe, many thought an updated reissue was going to happen automatically. But the world of publishing in 2019 as impacted by social media and various Internet influencers is a far cry from what it once was. So in 2003 my co-author assigned herself the role of Team Encyclopedia scorekeeper and started recording notes like the following:
SEPTEMBER 2003, BOOK SIGNING. Aberjhani & Sandra L. West host Book
Contemporary award-winning author of classically-styled works in history, poetry, creative nonfiction, speculative fiction, and journalism.