The Writer's Corner: A Conversation with Oyindamola Shoola

Author, mentor, and co-founder of Sprinng

This is Writer's Corner, a segment where we engage the minds of talented authors to uncover the stories behind their books, their career journeys, the personal hurdles they've faced, and the challenges that come with living the life of a creative.

This month, we're excited to feature Oyindamola Shoola. Oyindamola is a talented author, mentor, and a force in the African literary scene. As the co-founder of Sprinng, a nonprofit organization dedicated to empowering African writers, she has played a pivotal role in providing a platform for emerging talents across the continent. Sprinng’s mission is to nurture the next generation of African writers, offering resources, workshops, mentorship programs, and opportunities for growth.

In addition to her work at Sprinng, Oyindamola serves as the Editor and Programs Director at Poetry Journal, where she is deeply involved in discovering and curating stories that reflect the diverse and widely relatable experiences of Africans. Her focus is on uplifting the voices of ordinary individuals, showcasing their stories in a way that resonates with audiences worldwide.

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Early Life and Inspiration

Can you share some insight into your journey growing up and how it has influenced your writing career?

I grew up in a very artistic space, and my parents, to some extent, were art curators in how our houses were designed. I saw my father read a lot and my sister as well. However, throughout that tender period, nothing in me was certain about what I could become career-wise. Unlike some of my peers who could for sure say they wanted to become a lawyer, doctor, engineer – any of those profound things, I was fairly confused about what I wanted to be. My earliest remembrance of certainty about wanting to become something – a profession was in my Junior Secondary School when I thought I could be a teacher following my mother's footsteps.

Transitioning into the university level was when I had a hint of the type of commitment I wanted to make regarding my writing career. I still didn't imagine becoming a "writer" as a sole career profession; I saw it as something essential to my being regardless of where life led me, and I was right. I learned how to sharpen my writing skills by using it for various activities, including scholarships, essay writing, mentorship, and a little publishing here and there. Even when I dove deep into the literary and publishing space through entrepreneurship, internships, and more, I knew with certainty that I didn't want any of the typical career titles that came with exploring such paths as becoming an Editor or Literary Agent.

Notably, the encouragement of mentors along the way allowed me to realize that I was a polymath, meaning I enjoyed and thrived better doing a range of things simultaneously. I didn't need to be confined to an academic path, a career, or a job that was extremely defined to write or be a successful writer. Despite writing being the thing I did on the side – it was my constant to everything and the one thing I stuck to consistently regardless of the different majors I studied at the university or the part-time and full-time jobs I held at various points of my life. My creative writing path has been somewhat non conventional, with many personal explorations and learnings, which have helped me become a better writer.

Congratulations on the launch of your new book, "Face Me I Face You"! What inspired you to write this collection of poems?

Face Me I Face You was born out of a desire to capture the everyday experiences and moments that often go unnoticed but are deeply significant. As I explored themes of identity, home, and the complexity of ordinary life, I realized that these narrative poems reflected the shared and diverse experiences within our communities. This collection is my way of reflecting the world while offering a space for others to see themselves and their stories.

Writing Career and Achievements

You've received numerous awards for your writing and community service. Which achievement are you most proud of and why?

It's interesting because I think my proudest accomplishment is the impact of my work to serve the communities I found myself in rather than the awards or titles themselves, which I eventually forget as time passes. My greatest accomplishment so far will be using my creative writing skills to help students from underserved communities secure almost 1.5 million in scholarships and establish the Sprinng Writing Fellowship, which has mentored over 330 African writers. The service to my communities using my writing skills has been my greatest accomplishment.

Your career has spanned multiple fields — editing, publishing, and mentoring writers. How do you balance these diverse roles, and how do they intersect with your work as a poet?

In the earliest years of my career, I used to want to "balance" it well and feel like a failure when I didn't. However, the older I have become, the more contented I am in understanding the seasons of my life and how, many times, one thing will take priority over another, and they don't even always have to intersect with my writing to be valuable. For example, for the first 8+ months of this year, I spent much time doing writing-related volunteer work, mentorship, and community service. For the final months of this year, I am focusing on refilling my cup by writing for pleasure and enjoying the release and marketing of my book.

Notably, I believe I am a poet for myself first before anything else. If and when my poetry intersects with multiple hats, it would be through my occasional mentorship in the Sprinng Writing Fellowship, program management work at Poetry Journal, and a few other volunteering activities I do here and there for literary organizations.

Creative Process and Genres

As someone who has written across different genres—fiction, nonfiction, and poetry—which genre do you feel the most connected to and why?

While I have published more poetry, I feel most connected to my nonfiction writing and hope my next book will be a collection of nonfiction pieces. With poetry, one has to say a lot in a precise language with so much brevity. With nonfiction, I have the luxury of being myself fully and giving all the necessary context to share my perspectives on issues that matter to me. While it takes me longer to write nonfiction pieces, as you'll see on my blog, it feels like a big exhale when I do. On the other hand, poetry feels like a drum I dance to almost every day; if I am not writing it, I am reading it.

Could you walk us through your creative process when writing poetry? Do you have any particular rituals or practices that help you stay inspired?

This may sound ridiculous, but my best creative ideas come to me when doing chores and cleaning. As a chronic overthinker with many characters inside my head, I find cleaning a very silencing task. It helps me focus well, which is very helpful in creatively organizing my thoughts and figuring out the best ways to express them clearly. I also enjoy reading not just for pleasure but also to study the works of other writers and see what's working in their pieces and how I could learn from them.

Advice and Mentorship

What advice would you give emerging writers, particularly those from underrepresented communities, who aspire to make a meaningful impact with their writing?

Start from where you are. The journey for emerging writers can be daunting, especially for those from underrepresented communities. It’s important to understand that no step is too small. Many successful writers begin by submitting their work to smaller platforms, blogs, or literary journals. These early publications help build your portfolio, and over time, as you hone your craft and gain confidence, you’ll have the foundation to approach more prominent and more prestigious publications. It’s about progression, not instant recognition.

Don’t be in a rush. It’s easy to fall into the trap of comparison, especially with the pressure from social media to achieve constantly. But rushing success can lead to burnout or shallow accomplishments. There’s a certain wisdom in timing—success at the wrong time can be as disorienting as no success. Allow yourself time to grow into your voice and craft. Trust the process and stay patient because the most meaningful achievements come at the right time.

Stay connected and grounded in your community: Underrepresented writers often feel isolated, but having a community is a powerful tool to build relationships with other writers, mentors, and editors who share your goals or values. They can provide support, advice, and opportunities to propel you forward. Ultimately, writing is not just about your success but also about contributing to a collective voice that brings forward the stories that deserve to be heard.

As someone who has worked in higher education and creative fields, what advice would you give to young writers trying to balance their passion for writing with career aspirations?

Balancing a passion for writing with career aspirations can be challenging, but it’s possible with a thoughtful approach. Time management is critical; treat your writing time as non-negotiable, whether early mornings or weekends. Additionally, don’t overlook how your non-writing career or experiences can fuel your creativity. One of the most valuable skills a writer can have is observing and genuinely listening to the world around them. Writing isn’t just about speaking; it’s about absorbing. Pay attention to the voices and experiences within your community and the nuances of human interaction. Often, the most powerful stories come from the things people overlook or take for granted.

It’s also important to recognize that writing doesn’t have to be a full-time career from the start. Many successful writers maintain other jobs, using those experiences to enrich their craft. Don’t feel pressured to rush the process—your career can provide stability while you continue to develop as a writer. Even when you can’t commit to the highly defined paths and roles like becoming an editor or studying an MFA in Creative Writing, pursue smaller opportunities, such as fellowships, contests, festivals, and book/author-related events, that allow you to nurture your career and writing.

"Face Me I Face You" and Future Projects

How do you hope readers will connect with “Face Me I Face You”? What message or feeling do you want them to remove from the collection?

The book reminds us of the little humor of life that we take for granted, even in seemingly chaotic life contexts. I hope the book opens people's eyes to see how life has a good sense of humor left at our fingertips if we are open enough to embrace its moments more consciously. I also hope that people will be more open to enjoying reading and see that poetry can be fun and exciting to pick up every now and then.

What can readers expect from your future projects? Are there any upcoming works that you're excited to share?

While I have an ongoing nonfiction manuscript, I am not exactly clear on where I am going with it. But it has a lot of Hermit Crab and form writing to discuss mental health topics. As someone who studied psychology and committed to relative volunteer work and internships, I find this next book to be a creative way to dive back into that experience and capture some of the challenges that come with life.

African Literature and Global Recognition

What do you think the future holds for African literature, particularly in terms of global recognition and representation?

For the past eight years, my work in African literature has focused on addressing the infrastructural gaps that hinder African writers from thriving in their own countries. While global recognition and representation for African writers are increasing, there remains an urgent need for greater respect, resources, and investment in the literary industry at home. My vision for African literature is not tied to lofty ideals but to practical, foundational changes: the creation of more physical and virtual residencies and fellowships in countries like Nigeria, Ghana, Liberia, and more; the introduction of more creative writing and genre-specific programs at undergraduate levels for writers to hone their expertise and MFA specific to creative writing for graduate degrees; consistent government funding for local literary organizations that champion African writers; and investments in local printing presses that prioritize the success of African authors and spotlight homegrown talent to foster a thriving literary ecosystem.

The more exposed I am to the global literary and publishing space, the more I’ve been deeply disheartened by the privileges African writers either don’t have access to or are denied in their home countries. Many are forced to travel thousands of miles away to pursue opportunities that are seemingly mundane elsewhere, seek recognition abroad, or hand over their very cultural work to foreign publishers who, at times, are disconnected from our identities. This was a key consideration for me when I was writing Face Me I Face You, selecting a publisher, and planning its release—I wanted the process to be rooted in the shared values of people within the African literary ecosystem whom I engaged with and was intentional about not compromising the cultural appreciation the book deserved. Despite having a lot of resources and support, the journey of publishing Face Me I Face You still revealed many minuscule but significant barriers that need to be removed to empower more African writers at home, especially the young and developing ones, and ensure our stories are equitably represented.

Most importantly, African literature is diverse and far from being a monolith. However, global recognition and representation will only be a façade to these gaps unless we commit better to investing in the resources and infrastructure needed for more emerging writers to thrive at home. There is a Yoruba saying, “Ile la nwo ki ato so omo ni oruko,” meaning we look at the home to name the child. Whatever the future holds for African literature in the global world must be first well done at home. The typical examples of “global recognition and representation” that most people give are by a few Western countries that have capitalized the space ethnocentrically. Eventually, I want the African literary and publishing ecosystem to be the standard, to be the place where people travel to sharpen their creative expertise, belong in writing communities, and even publish their works.

Oyindamola Shoola just published a book titled: ‘Face Me I Face You’ a collection of poems existing at the interface of identity, class, and culture. It holds a mirror to the working class by capturing the narrative essence and dramatized aspirations of its characters. The deployed humor fondly humanizes our modern realities and reaches beyond the tragedy of these colorful archetypes of city life.

Click https://linktr.ee/FMIFY to order an E-book or print copy of Face Me I Face You.