Debesay Weldu, a prominent figure in Eritrean media, is very well known for his film scripts and radio and television serials. Born and raised in Asmara, he began his writing career in 1992 when he joined the Ministry of Information (MoI). Over the past 32 years, he has worked in various capacities at the MoI, including as a reporter and an editor. Alongside his work in journalism, he has also been involved in the field of art, particularly radio and television serials, sitcoms and short educational films.
Tell us about your journey as a writer. How did you start writing radio serials?
In high school, I was involved in writing plays with my friends. We would create plays that reflected our lives as students, and they were very well received both by fellow students and teachers. This positive feedback encouraged me to continue writing. When I joined the MoI in 1992, I was assigned to Radio Dimtsi Hafash’s Youth program. To make my programs appealing to the youth, I introduced radio drama. This marked the beginning of my career in writing radio serials. I was young and dedicated, like my colleagues, and together we presented the radio serial “Einqifat” (Obstacle) with the cooperation of my co-workers as actors. The audience’s positive response to this work was astonishing. It motivated me to continue producing more. In 1997, I wrote “Fetene,” which received even greater acceptance. Although I initially lacked knowledge and experience in writing radio drama, the public’s positive reaction and radio’s potential to reach large audiences encouraged me to keep pursuing it.
Radio serials require the audience to imagine the scenes as they rely solely on sound. How do you make your stories entertaining and capable of conveying your messages effectively?
Firstly, the language used in radio serials is crucial. It is important to avoid complex language and dialogue, ensuring that the script is easily understandable for a diverse audience. Since radio reaches people from various backgrounds, including parents and children; the literate and the illiterate, etc., the dialogue should be accessible to all. By using simple and clear language, the audience can easily engage with the story and create mental images based on the auditory experience.
Creating a vivid mental image is a key aspect of radio serial. Unlike visual mediums like films and television, radio relies solely on sound to stimulate the listener’s imagination. Therefore, the plot and setting should be carefully crafted to be easily imagined. Descriptive language and sound effects can be used strategically to guide the listeners’ visualization process. By focusing on creating a rich audio experience, the entertainment value of the drama can be enhanced.
It is worth noting that radio serials require less production work compared to television and films. While television and films rely on visual imagery, radio primarily relies on the power of storytelling through sound. This makes writing a radio piece relatively easier for the writer as he can focus on crafting engaging dialogue and descriptive language. Similarly, for actors, performing on radio is less demanding compared to television or film, as they rely on their vocal skills rather than physical performance.
One of the notable advantages of radio is its accessibility. A radio broadcast can be accessed in every corner of the country, making it a popular medium among a diverse audience. Whether people are traveling, working, or in various circumstances, they can enjoy the radio. This broad accessibility contributes to the popularity and appeal of radio serials as a form of entertainment.
How did you make the transition to film production?
Initially, we considered adapting the radio serial, Mrs. Tiebe, into a film. However, we decided against it because we didn’t want to misrepresent the public perception that the radio serial had created. Instead, we transformed the radio drama Fetene, which was broadcast in 2002, into a TV series called Quana. The film retained its originality and meaning but was adapted for the visual medium with minor changes in the script. This marked the beginning of my career in film script writing. Quana was very well received by the audience, beyond my expectations. Since then, I have produced around eight television and 24 radio serials, along with weekly sitcoms and educational dramas. One of the longest films I’ve worked on is Hiwet. It has 130 episodes that were aired throughout more than two and a half years. And the sitcom Sidra was on air for nine years. It had 450 episodes. This is in addition to the plays and short educational films I’ve presented on holidays and other occasions.
Tell us about any memorable experiences or successes you have had as a writer?
While we were working on Machelo, a television serial, the world was hit by COVID-19, resulting in restricted movement. This presented an immense challenge in itself. However, with the cooperation of our society and our partners, we managed to overcome these obstacles.
Machelo was nominated and awarded at the Sotuigi Film Festival held in Burkina Faso. This film has propelled me onto the international stage, offering a valuable opportunity that boosted my morale and enhanced my skills. The impact and motivation stemming from this experience have been truly profound.
Can you describe your creative process when it comes to writing?
My creative process begins with drawing inspiration from various real-life situations that people experience or that I observe and hear about. I then ask whether these experiences can be valuable to society. I study and experiment with these ideas by engaging in conversations with people, seeking their perspectives. It is crucial that the ideas I explore are acceptable and believable to society, avoiding exaggeration. They need to be relatable and convey a positive message with inherent value.
To achieve this, I undertake a comprehensive study that delves into legal aspects by consulting legal advisors, considering gender issues, and exploring other relevant dimensions. By thoroughly examining these factors, I transform the initial idea into a well-crafted composition.
Collaboration is often crucial in media production. How do you work with directors, actors, and other team members to bring your scripts to life? How do you handle feedback and incorporate suggestions?
Simply having a good script is not sufficient. Bringing the script to life requires the collaborative efforts and dedication of actors, sound technicians, editors, directors, cameramen, and other team members. Each person’s contribution is complementary.
When it comes to feedback and suggestions, I approach them with an open mind and a willingness to consider different perspectives. I value the input of my collaborators and understand that their insights can enhance the overall quality of the production. I carefully listen to their feedback, evaluate their potential impact, and incorporate valuable suggestions into the script or the overall creative process. This collaborative approach ensures that the final product is a result of collective efforts and creative synergy.
We often make our films in people’s houses, businesses, offices, and other places and the support and cooperation we get is incredible. I want to thank all those who supported us using this opportunity.
As a writer, what are your aspirations for the future? Are there any particular projects or genres you would like to explore?
Once art becomes ingrained within you, it becomes a constant presence in your life. Even in the midst of social interactions, I find myself engrossed in contemplation, exploring how the discussions and ideas being shared can contribute to my own creative pursuits. I consciously sift through and analyze the conversation, seeking out valuable insights, inspiration, and fresh perspectives that can be applied to my work. Extracting these gems from the discussion, I then integrate them into my own creative endeavors.
I have numerous plans on the horizon, with my primary focus being writing. I have completed scripts that are ready to be transformed into films. Following the ongoing film Erfi on Edit, I will introduce a new film called “Wuhij.” Considering my experience and the expectations of society, I aim to deliver fewer but higher-quality productions. While the number of films I release in a year may be fewer than before, I am committed to creating content that surpasses previous standards.
What advice would you give aspiring writers who want to make a mark in the fields of radio serials, television serials, and features films?
Radio serials hold significant importance, but there is a scarcity of writers engaged in this medium. To address this shortage, it is crucial to study the underlying causes. Are financial resources and funding needed? Or is it a matter of encouragement, motivation, and training? Recently, I’ve published the radio serial Mrs. Tiebe as a book, with the aim of inspiring writers and providing it as a reference for creating radio serials. I strongly urge aspiring writers to give serious consideration to radio serials as a creative avenue.
Success is achieved through hard work. Talent alone, without effort, remains untapped potential. Aspiring writers should first identify their talents and then strive to make the most of them. They must diligently work to bring their ideas to life, combining hard work with creativity. Many have ideas but lack the action or initiative to pursue them. Even those who start writing often struggle to patiently bring their projects to completion. This is why discipline is of utmost importance.
Thank you for your time Mr. Debesay.