Francis Doku writes: How I started my writing journey with the Graphic Showbiz

In May 1998, I walked into the office of the Editor of the newly created weekly entertainment newspaper by the Graphic Communications Group Limited (GCGL), Graphic Showbiz. I don’t remember what I said, but I am certain I found a good reason to beat the security and receptionists.

This happened a few weeks after Albert Sam’s Swedru internet sex scandal stories had propelled the new paper, launched by GCGL to cover arts, tourism and entertainment, into prominence.

Even though he didn’t know me and, frankly, he didn’t have to meet someone with no pedigree in journalism or writing wanting to meet him, Mr. Emmanuel “Lee” Accorley (may his gentle soul rest in peace) received me well in his office. He offered me water and tea; I opted for water.

He then asked my mission, and I told him the reason I had come to see him was to propose to him my desire to write for the paper. He then asked what my background was and I told him all I had done up to that point was writing for the likes of Radio & TV Guide, Radio & TV Review and other prints in circulation at the time. I also mentioned that I had recently written the O’ Level privately and awaiting the results to see how I would upgrade my education.

While admonishing that I try and enroll at the journalism school should I have good O’ Level results and I am able to pass the A’ Level, Lee Accorley then asked that I write a story for him to see and if he was impressed by my writing he would agree for me to write for the paper. I thought it was a good deal so I acquiesced to the counter proposal, thanked him for his reception and left.

I would do better than he asked by bringing him two stories one week after our meeting. The first was an interview graciously granted me by the first Acting Director General of the newly created National Communications Authority (NCA), Major (rtd) George Tandoh, to understand the role of his new organisation in the authorization and regulation of radio and television since the privatisation of the sector a couple of years earlier. The second was a report I filed from the maiden Dr. Ephraim Amu Memorial Lecture from the National Theatre. As a member of the Madina Immanuel Presbyterian Church Choir, one of the choirs that performed at the lecture (along with other choirs and the National Symphony Orchestra), I had front row seat, to wit.

Lee Accorley did not hide his appreciation of my style. Both stories were published on prominent pages of the paper with very little editing touch. I did not bother to ask if I would be paid for my work or not, I was just happy to have my byline in the leading entertainment print.

Suffice it to say that with that singular act, I believe, Uncle Lee (as he was famously referred to) opened the way for my journalistic and media journey. I would become a regular contributor to the Graphic Showbiz every week for two years before I would land an additional and exciting responsibility of writing a column in the paper on 1st July 2000. Then Acting Editor, Nanabanyin Dadson had realised falling standards in broadcasting so he suggested that I do a weekly CRITICAL piece on Radio and Telelvision for the paper. and hit them hard where it hurts.

Unbeknownst to him, this was all I ever wanted to do – criticize radio and TV stations, programmes and presenters. I was about to live my dream!