
Cheers to 2025
Every New Year holds promise, as though it is any different from the turn of
Now that I have found my writing voice—if there’s any such word—I think it might just be apt to reflect on some of the things that have happened in the last 14 or 18 months.
When I started writing in 2019, it was way before the blog and before COVID. I then spent a lot of time during the pandemic writing, and that’s one of the things that birthed my first two works: Prisoner of Fate: Waste of Sin and Blood and Water. These were my first sets of published works, spanning three different books.
It was quite adventurous for me. I was content with simply writing every week on my blog and posting to a small circle of friends on my contact list. From that point on, life was pretty sane. I wasn’t disrupting anything. If I reached out to a few people in my contacts, the worst they would say was, “Oh, I didn’t know you could write.” The best I’d hear was, “Oh, I knew you had it in you. You speak so well, there’s no reason why you shouldn’t write as well.”
Then, it turned out to be about the storylines. People could relate to them; they liked the descriptive nature, enjoyed the passion I put into it, and they wanted more. That demand drove me to write even more. I didn’t just write one story or episode every week—I was sometimes writing in the middle of the week. Because I didn’t want to disrupt my work schedule and routine, I would wake up late in the night just to write.
It was such an elevating and relieving time for me because I was expressing myself with ease. It didn’t require me to wait for somebody’s input or to go online. My brain was simply churning out as many storylines as possible, and I was finding creative ways to put them down and bring them to life.
I loved the fact that I could get almost instantaneous feedback from the blog. You put it up, and somebody says, “Hey, nice work. I love the storyline. I love this character. I think this character could be this person or that.” In fact, some even thought the characters I created were twisted versions of myself. That’s understandable; it just alludes to the fact that I may have been an enigma to them, so they were trying to find pieces of me in the characters I was developing.
But that’s fine. The moment you put your work out there, you subject yourself to all kinds of scrutiny, thoughts, reviews, and poking. People question your thoughts, your ideas, and your concepts. You are left with a choice: you can report it, refuse it, review it, accept it in its entirety, or simply ignore it—which is the option I typically choose.
After COVID, I got the idea that I could actually publish a book every year. And since 2021, I have done just that. My first book was Prisoner of Fate in 2021. In 2022, it was Waste of Sin and Blood and Water—two books in one year. Then in 2023, I released Dreams from Yesterday, which, in my opinion, was one of my most well-received and popularly acclaimed books. It featured a combination of 14 different storylines tackling societal issues that sparked very intensive discussions among readers.
I remember the book reading event for Dreams from Yesterday. It was relieving. People were engaged. It felt like the story was taken away from me and owned by the readers, and that was incredibly exciting to watch. I literally became a moderator at an event where I was supposed to be telling them about the story—all because the readers loved it, internalized it, and understood the clear message. That was very heartwarming because each story was deliberately selected for just that purpose.
In 2024, I published Damaged Goods, a short story intended to show a different side of my storytelling. The style was consistent, but the kind of story had evolved. It felt like I was developing one of the shorter stories from Dreams from Yesterday into much longer prose, allowing readers to bask in the twists and turns and enjoy the literary prowess of the evolving author I had become.
But in 2025, I hit a blank. I didn’t publish any book.
I had previously promised myself that I was going to publish one book every year until I turned 50. Having skipped 2025, that means I should be dropping two books in 2026, right? The interesting thing is that I do not lack the material. Some of these books have been written way ahead of time. In fact, I have three unpublished works that have been edited and are ready for publishing, but I haven’t quite taken the step to release them.
What could it be? Did life happen? Not really. It’s more about my evolving self. I’ve begun to pay very deliberate attention to the kind of stories I write and the messages I intend to push out. It’s becoming clear that there are divides within the readership regarding how they perceive these messages.
For instance, some might see rape as an underlying conversation they do not want to broach. They might easily attribute the cause to different parties involved and take a position. Others see it as a societal evil that, irrespective of which side you’re on, should not be condoned or even discussed. My stories don’t look at these issues superficially. We dig deeper into the concept, looking at it from a granular point of view that allows for rigorous and intense conversations between parties. That’s exactly what played out during the book reading for Dreams from Yesterday, as rape was one of the central themes.
The good news is, I will indeed be publishing a book this year. I’m saying this because I mean it, not just to make up for last year. I have two options: I can either publish two books this year or simply do one and see how I can catch up as we go.
The book coming this year is something I’m very excited about. I’ve worked with several editors to bring it to light, and we’re about 80 or 90% done. We’re at the point where we need to get the book into your hands. While it will be available on digital platforms like Amazon and Goodreads, it will also be physically published and look just as beautiful. I’m sharing the proposed front cover design—just to elicit some excitement from my readers.
I want to commit to this because I’ve said it now, and I don’t have a choice but to get it out this year. When? Certainly in the first half of this year, God willing.
It’s called The Kept Dark. That’s the name that’s been playing around in my head. It’s one of the few books where I’ve had a title from the get-go, even though that title was completely dismembered and annihilated by the time the book was severely edited.
It’s a psychological thriller about a lady named Tara. Ironically, it’s been on the blog already, but it’s been nicely edited to make it a more compelling read. It’s a story that’s going to grab you from the start and keep you glued to the pages—one of the signature styles of my writing.
I’m excited to share the synopsis so you can get excited about it too. Look through the front and back cover. What do you think? Is there something I could change? Is it too similar to my previous stories? Should I do something differently?
Watch out, because after this one is published, the next one is The Nitrons. I’ve had that on the blog for a bit too, and it’s currently going through some editing. Hopefully, before the end of the year, we’ll be close to publishing it for 2027.
The truth is, I’m excited about putting a book back into your hands. More than that, I’m excited to hear your feedback—to sit in a room with everyone who reads the book, young or old, and hear how you process the message this story speaks about.
Looking forward to hearing from you. Bye!

Every New Year holds promise, as though it is any different from the turn of

Adaeze had been awake since 4 a.m.
Not because she was anxious — though she was — but because this trip felt different. After eighteen months of follow-ups, phone calls, and PowerPoint presentations polished to a mirror shine, the deal was finally ready to close. An investor meeting in Abuja. A partnership that would change the trajectory of her small but gutsy consulting firm. She had triple-checked her flight, her documents, her outfit. She had prayed. She was ready.

When he told his father, Dare’s first response was a sigh. Then: “I told you to practice more. I told you months ago. You don’t listen. You never listen.”
There was no “I’m sorry, son.” No pause to let the boy simply feel the loss of the thing he wanted. Just a swift, seamless pivot to what Temi had done wrong — and, by extension, how Temi’s failure was evidence of Temi’s failure to take his father’s wisdom seriously.

I want to tell you something that took me embarrassingly long to learn. Not because the idea is complicated — it is not. But because it cuts against something deeply wired in us, something we are rarely honest enough to admit.

You are somewhere between forty and fifty-five. You looked in the mirror recently and had a thought you immediately dismissed. Maybe you googled something at 2am that you would never say out loud. Maybe you bought something expensive and impractical and told everyone it was an investment. Or maybe you just feel — quietly, persistently — like the life you built was supposed to feel better than this by now.

Anton Chekhov was a Russian physician and playwright — a man trained in the discipline of diagnosis before he became one of the most precise storytellers in the history of world literature. That combination of sensibilities matters, because the principle he articulated in the late nineteenth century was not merely a rule of dramatic craft. It was an observation about the nature of significance itself. About what it means for something to be present. About the relationship between introduction and consequence.

There is a prison that has no concrete walls, no iron bars, no guards posted at the gate. Nobody built it for you. Nobody sentenced you to it. And yet, for many people, it is the place they spend the better part of their lives — circling its perimeter, brushing their fingers against its invisible boundaries, and quietly retreating each time they feel the edge of something that might require more of them than they believe they can give.

Picture a hand holding sand. The tighter the grip, the faster the grains escape between the fingers. Ease the grip — open the palm, allow the hand to become a vessel rather than a vice — and the sand stays. This is one of the oldest paradoxes of leadership, and one of the least learned: that control, pursued too aggressively, produces the very loss of control it was designed to prevent.

There is a version of ambition that builds. And there is a version of ambition that consumes. From a distance — and especially from inside it — they look almost identical. Both are energetic. Both are forward-moving. Both speak the language of vision and possibility. The difference only becomes visible later, usually at the point of fracture, when what was built begins to come apart under the weight of what was promised.

There is a particular kind of organisational absurdity that most people who have ever worked in a company will recognise immediately. It is the policy that was clearly designed by someone who has never had to implement it. The restructuring that looked elegant on a slide deck and chaotic on the ground. The customer-facing process that was overhauled by a committee that has not spoken to a customer in years. The directive that arrives from above, fully formed and non-negotiable, that causes the people closest to the work to exchange a look — the kind of look that says, without words: they have no idea what we actually do here.

We have built an entire mythology around exhaustion. In boardrooms and business culture — perhaps nowhere more so than in the high-pressure, always-on professional culture many of us inhabit — busyness has become a currency. To be tired is to be serious. To be overwhelmed is to be important. To be burning out, quietly, is somehow proof that you are fully committed.

There is a particular kind of failure that never makes the headlines. It does not arrive with a scandal, a public collapse, or a dramatic resignation. It builds slowly, almost imperceptibly, in the space between what a leader sees and what they choose to say. It lives in the meetings that end without the real conversation ever starting. It grows in the silence after a poor decision goes unchallenged, not because nobody noticed, but because everyone agreed — unspokenly — that it was simply easier not to say anything.

The boardroom at Crescent Capital Partners on Victoria Island smelled of leather and ambition — the kind that had been earned, aged, and perhaps left out a little too long. Emeka Osei-Bello, Managing Director and Group CEO, sat at the head of a long mahogany table, his charcoal suit immaculate, his posture the kind that says, I built this. He had, in many ways, done exactly that.

When you stay loyal to a version of yourself that no longer exists—the one who was hurt, the one who failed, the one who was overlooked—you are still choosing. You are choosing to let one moment in time define the whole arc of your life. And that choice costs more than it keeps.
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