“I’ve learned to be patient with myself and trust that the words will come eventually…” – Simbarashe Steyn Kundizeza.
By Karen Jennings
In July this year, Simbarashe Steyn Kundizeza was announced as the winner of The Island Prize. Simba lives in Harare, Zimbabwe, with his wife and daughter. He was previously a finalist in the 2018 Africa Book Club Short Story Competition. His past publishing credits include the short stories, A Way Out, published in The Wrong Patient and Other Stories from Africa anthology, and The Whistleblower, published in Transition Magazine Issue 131. Simba’s winning manuscript for The Island Prize is called Freelance.
Set in 2019 in post-Mugabe Zimbabwe, this thriller follows Omar Warsame Mohamed, a Somali-American freelance investigative reporter, as he investigates the suspicious death of his childhood friend, Edgar. He discovers that it is connected to the presence of a Russian-owned company operating in the country and a devastating web of corruption and deceit.
For Afrocritik, I sat down with Simbarashe Steyn Kundizeza to discuss Freelance, the difficulty of juggling a full-time job and writing a novel, as well as various aspects of the writing process – including handling both good and bad advice, picking names for his characters, and conducting research.
Hello, Simba. Thank you for taking the time to answer some questions. Firstly, let’s begin with the obvious: Was there a moment when you knew you wanted to be a writer?
Yes, there was a moment that stood out to me. It was during my 4th year of high school. We had been assigned an essay in our English class, and when it came time to turn them in, the teacher asked if anyone would be willing to read theirs out loud to the class.
I was hesitant at first, but one of my classmates volunteered to read mine. As she began to read, I could hear the class becoming more and more engaged. They were laughing at the right moments, nodding along in agreement, and even gasping at the surprising twist I had included. When she finished reading, the class erupted into applause. I was completely taken aback. I had never received such a positive reaction to something I had written before. My teacher even told me that it was one of the best essays he had ever read from a student.
At that moment, I knew I wanted to be a writer. The feeling of connecting with others through my words, of sparking emotions and ideas, was exhilarating. It was as if I had discovered my superpower! From then on, I was hooked on writing, and I knew that I wanted to pursue it as a career.
What was an early experience where you learned that language had power?
For me, it was reading Harper Lee’s To Kill a Mockingbird as one of our set books in high school literature. The themes of injustice, racism, and the importance of empathy resonated with me, but there was one scene that struck me profoundly: the courtroom scene where Atticus Finch delivers a powerful closing argument defending a black man who has been wrongfully accused.
He methodically dismantles the prosecution’s case by carefully choosing his words to appeal to the jury’s sense of morality and fair play. The sheer force of his words and his ability to paint a vivid picture and make a compelling moral argument left a deep impression on me. I remember feeling a sense of awe at how language could be used not just for communication, but to shift perspectives, challenge injustice, and ultimately effect real change.
What kind of research do you do for your writing, and how long do you spend researching before beginning a book?
For Freelance, the research phase was quite extensive, given the complex political and historical backdrop of the story. I wanted to ensure I had a deep understanding of Zimbabwe’s journey from the colonial era to the post-Mugabe era, to authentically depict the country’s challenges and nuances.
So before I even began outlining the novel, I spent several months reading history books, news articles, academic papers, documentaries, and first-hand accounts related to Zimbabwe’s history. I read everything I could get my hands on to gain a comprehensive understanding of the players, the power dynamics, and the various issues involved.
I also conducted extensive research into the specifics of my protagonist’s backstory—the Somali refugee experience and the dynamics of the Somali diaspora in places like Minnesota. Additionally, I immersed myself in the world of investigative journalism, studying techniques, ethical considerations, and the daily realities of being a freelance reporter on dangerous assignments. I wanted to capture those details with as much authenticity as possible.
All in all, I probably spent about six months on the research phase before I typed the first line of the actual novel. That said, the research process didn’t end there. Even as I was writing, I was constantly fact-checking, cross-referencing, and digging deeper to ensure I was representing things accurately. It’s an ongoing effort to maintain that level of authenticity.
How do you select the names of your characters?
This is a tricky one! I’m not very good at coming up with names. In fact, for Freelance, I changed characters’ names quite a few times. I usually describe the character to my wife, and then she’ll suggest a name. Or if I’m at work, I’ll just look around the office and see whose name I can borrow! That’s how I came up with the names Tendai, Brenda, and a few others.
What was your favourite scene to write in Freelance?
My favourite scene to write in Freelance was the big action sequence towards the climax of the story. I don’t want to give away too many spoilers, but this was a pivotal moment where one of the main characters finds themselves in a high-stakes, adrenaline-fuelled confrontation.
As an author, I really relished the challenge of crafting an intense, cinematic action scene that would captivate readers. I wanted to create a palpable sense of tension and keep the audience on the edge of their seats. So, I put a lot of thought and care into choreographing the sequence, considering every movement, sound, and visual detail.
Have you experienced writer’s block? Do you have a cure for it?
Writer’s block is something I’m all too familiar with! There have been many times during the writing of Freelance when I’ve hit a wall and struggled to make progress. It can be incredibly frustrating.
I find that the best cure for writer’s block is to simply step away from the work for a little while. I’ll take a break, perhaps play video games, or work on something else completely unrelated. This helps reset my mind and allows me to return to the project with a fresh perspective.
The key is not to let writer’s block frustrate me to the point of giving up. I’ve learned to be patient with myself and trust that the words will come eventually, as long as I keep showing up and putting in the work.
What is the best writing advice you have ever received?
Early on, I had a tendency to get caught up in trying to craft the perfect sentence or achieve a certain level of ‘literary’ quality in my writing. I would agonise over word choice and sentence structure, sometimes at the expense of the overall narrative.
Then one day, I read on a blog that I had to “focus on the story, not just the writing”. That encouraged me to shift my mindset. It reminded me that ultimately, a good story is what captures and engages readers, not just pretty language. What’s key is developing compelling characters, a gripping plot, and an authentic voice—the rest will follow.
This advice has been invaluable. It’s helped me stay centred on the big picture and not get bogged down in minutiae. I now view the writing process as a constant back-and-forth between the story and the language, with the story always taking precedence.
And what is the worst writing advice you ever got?
The notion that “you have to write every day” is one I understand the sentiment behind—that developing a consistent writing habit is important. However, as someone with a full-time job and other personal commitments, the idea of writing every single day simply isn’t practical or sustainable for me.
There have been periods where I’ve tried to adhere to this advice, and it’s often led to more stress and burnout than actual progress. I end up feeling guilty and inadequate when I inevitably miss a day or fall behind. My writing process works best when I can be flexible and organic with my approach.
Some days, I may write for hours. Other times, I might not write for a week. What matters is that I’m consistently making progress, even if the pace ebbs and flows.
Who are authors that you admire?
I’m a huge fan of Desmond Bagley in particular. His novels feature a wonderful blend of fast-paced action, intricate plotting, and richly drawn characters. The way he seamlessly weaves in detailed technical information or political and historical context without bogging down the narrative is masterful. Books like Windfall and Flyaway are gripping from start to finish.
John Creasey is another favourite of mine. He truly defined the modern “crime thriller” genre with his various detective series. I love how he created complex, flawed protagonists that readers could genuinely connect with, even as he propelled them through twisty, high-stakes plots. The Toffs and the Department Z series are particular favourites of mine.
And, of course, Lee Child is a true modern master of the thriller. His Jack Reacher character is an iconic, larger-than-life hero. The way Child constructs high-octane narratives while delving into deeper themes of justice, morality, and the human condition is impressive. His prose is sleek and effortless as well.
Finally, what is your least favourite kind of writing? Something that makes you groan, or that could put you to sleep?
I know the paranormal romance genre is incredibly popular and lucrative, with a vast audience of avid readers eager to devour these kinds of stories. But as a writer, I find the whole premise painfully clichéd and uninspiring.
I understand the appeal, of course. These stories tap into universal themes of self-discovery, belonging, and love triumphing over all. I admire authors who can craft these narratives with genuine heart and emotion. However, in my experience, most YA fantasy works end up feeling like cheap, pandering imitations of the real thing. It’s just so hard for me to get invested in a story where I can see the plot twists and character arcs coming from a mile away.
Now we know what NOT to get you for Christmas! Thanks for your time, Simbarashe Steyn Kundizeza, and wishing you and Freelance all the best going forward.
Karen Jennings is a South African writer whose novel An Island was longlisted for the Booker Prize in 2021. Her most recent novel, Crooked Seeds, came out in April 2024. She is currently writer-in-residence as a post-doctoral fellow at the Laboratory for the Economics of Africa’s Past (LEAP), Stellenbosch University. Karen co-founded The Island Prize for unpublished African authors to help them get published globally. Now in its third year, the prize has helped authors from all over the continent, with both winners so far being published in the UK.