Cultural book festivals and storytelling festivals present unique challenges and opportunities for festival producers. In these events, the spoken and written word take center stage – a whispered story or a lively author Q&A must captivate audiences just as powerfully as any rock concert or food stall at other festivals. Achieving that requires careful attention to factors like acoustics, seating comfort, and an atmosphere of quiet focus. Accessibility is paramount too: providing sign language interpretation (ASL or other regional sign languages) and live captioning can open the experience to deaf and hard-of-hearing attendees. Meanwhile, behind the scenes, author hospitality and well-managed book signing lines ensure that writers and readers alike have a positive experience. Sensitive literary content needs thoughtful handling, and savvy festival organisers even track how these events spur book sales and reading list additions long after the festival ends. Drawing on real-world examples from festivals around the globe, this case study delves into how successful cultural book and storytelling festivals address these areas — sharing practical lessons from both triumphs and the occasional misstep.
Acoustics and Venue Setup: Ensuring Every Word is Heard
For any literary or storytelling festival, acoustics can make or break the audience experience. A speaker’s voice needs to be heard clearly by everyone in the venue, whether it’s a small room in a library or a huge tent holding hundreds of listeners. Many festivals opt for venues known for their sound quality – for example, historic theatres, lecture halls, or purpose-built tents with acoustic treatments. In outdoor settings or makeshift venues (like tents or open-air stages), controlling outside noise is crucial. The Hay Festival in Wales, for instance, takes place in large marquees in a rural setting; yet even there, the patter of rain on canvas can compete with an author’s voice (bambooinnovator.com). To counteract this, festival producers use high-quality PA systems, directional speakers, and noise-dampening materials. Some go as far as providing headset amplification for audience members or hearing loops for those with hearing aids.
Strategic scheduling and layout also help preserve sound quality. Smart festival organisers ensure that two adjacent stages don’t schedule loud performances or music concurrently with quiet spoken-word sessions. At city-based events like the Brooklyn Book Festival in New York, panels held outdoors contend with urban noise (honking horns, sirens, general hubbub), so organizers might use sound baffles, taller backdrops, or even white-noise machines at the perimeter to reduce intrusions. The old adage for these events is that “words need space and silence” – meaning the environment should be crafted to minimise distractions. One illustrative example comes from the Oxford Literary Festival: a talk held in Oxford’s Bodleian Library had to contend with the clatter of a nearby café’s coffee machines (oxfordliteraryfestival.org). After feedback, the festival adjusted by scheduling sensitive sessions away from noisy areas and reminding on-site vendors to be mindful during talks. The lesson is clear – conduct thorough sound checks and walk the grounds during planning to identify and mitigate noise sources, whether it’s a refrigeration unit’s hum or the echo in a high-ceiling hall.
In storytelling festivals, acoustics are equally vital but the approach may differ slightly. The National Storytelling Festival in Jonesborough, Tennessee, uses big-top tents that create an intimate atmosphere; producers there keep the sides of tents lowered during performances to block outside sound and sometimes even pause for passing loud disturbances (like a train or aircraft) rather than let a tale be ruined. Whether it’s a single harpist plucking notes behind a poet or just a solo storyteller’s voice, clarity and intimacy are the goals. The best festivals invest in skilled sound engineers, perform multiple rehearsals, and have backup generators and equipment on hand so that the microphone never cuts out during that pin-drop moment of a powerful story.
Seating Comfort and Ambiance: Keeping Audiences Engaged
Literary events often run for extended discussions – it’s not uncommon for attendees to sit for an hour-long author interview, then line up for questions or a signing. Seating comfort therefore isn’t a luxury; it’s a necessity for audience satisfaction. Many cultural book festivals attract a wide age range, including older adults who will appreciate seating with back support and clear sightlines. Festival producers recommend conducting a “seat test”: actually sit in the chairs or benches planned for use, for the length of a session, to judge comfort. For example, the Jaipur Literature Festival in India (one of the world’s largest free literature festivals) uses a mix of plastic chairs and carpets on the ground for overflow crowds. After early feedback about discomfort and disorder in seating, organizers introduced reserved seating sections for senior citizens and better cushioning on carpeted areas so people could comfortably sit on the floor for popular sessions. Even small touches like providing some cushions or portable backrests in tents (as seen at the Ubud Writers & Readers Festival in Bali) or ensuring seats aren’t packed too tightly can greatly enhance comfort.
Beyond the physical seats, consider the overall ambiance. Does the venue allow the audience to focus on the words? Lighting, temperature, and even décor play a role. Gentle, warm lighting helps create a cozy atmosphere for storytelling evenings, while daytime author panels need good stage lighting without blinding the front row. Outdoor daytime events might require canopies or umbrellas for shade – at the Sydney Writers’ Festival, for instance, open-air stages by the harbour come with the bonus of a beautiful backdrop but organizers must arrange for sun coverage and water stations so attendees remain comfortable and hydrated during sessions. In indoor venues, climate control is key: a stuffy room can make people drowsy or irritable, undermining even the most brilliant speaker.
Spacing is another consideration: unlike a music concert where people might stand shoulder-to-shoulder, literary festival audiences appreciate a little elbow room to take notes or simply to avoid feeling cramped. Aim for seating layouts that provide clear aisles for easy access (especially important if someone needs to slip out quietly). Some festivals incorporate soft seating zones around the main stage – e.g., small clusters of sofas or cushions at the back for a relaxed listening experience – which can be popular for families with children or those who might not stay the whole time. Ultimately, comfortable attendees are attentive attendees. By investing in good seating and a pleasant ambiance, festivals increase the likelihood that audiences stay for that extra panel in the afternoon instead of leaving early due to sore backs or fatigue.
Accessibility and Inclusivity: ASL Interpretation and Captioning
A truly cultural festival is an inclusive one. Providing accessibility services such as sign language interpretation and real-time captioning ensures that everyone can enjoy the stories and discussions. Leading festivals have made accessibility a priority. The Cheltenham Literature Festival in the UK, for example, partnered with the Gloucestershire Deaf Association in 2024 to include British Sign Language (BSL) interpreters at multiple sessions (www.bbc.com), after seeing a positive response when they trialed it at a related jazz festival. This kind of collaboration not only serves the deaf community but also sends a welcoming message. Similarly, the Edinburgh International Book Festival offers a roster of events each year that are either BSL-interpreted or live-captioned, and even allows attendees to request interpretation for specific sessions in advance (www.edbookfest.co.uk). These services require planning – from booking qualified interpreters or CART (Communication Access Realtime Translation) captioners well ahead of time, to coordinating with authors on any special vocabulary or content quirks in their talks.
American Sign Language (ASL) or other sign languages (such as BSL, Auslan in Australia, or ISL in India) may be used depending on the country. Festival producers should liaise with local deaf organizations to find the right interpreters and to promote these services to those communities. It’s not just about hiring an interpreter; it’s about integrating them smoothly into the event. That might mean placing interpreters on stage in clear view, providing adequate lighting, and informing hearing audience members why those reserved front-row spots for deaf attendees are important (so they can see the interpreter or captions). Some U.S.-based events like the National Book Festival in Washington, D.C. have offered ASL interpretation for major stages, and many festivals now include an accessibility note in their programs indicating which sessions are ASL-interpreted or have closed captioning available.
Live captioning (CART) is an excellent addition, benefiting not only the hard-of-hearing but also anyone who might struggle with an accent or rapid speech. For instance, at the Auckland Writers Festival in New Zealand, organizers noted that attendees whose first language wasn’t English appreciated having written captions to follow complex discussions. Whether captions are displayed on a large screen in the venue or accessed via an app on personal devices, they provide an inclusive layer of understanding. In purely virtual or hybrid events (which many festivals pivoted to during the pandemic), enabling captions became standard and that practice has carried over into in-person events via technology.
Aside from ASL and captioning, accessibility means physical access and comfort for disabled attendees too: think wheelchair-accessible seating areas, priority entry for those who cannot stand in long queues, and offering content in multiple formats (like providing printed handouts of a presenter’s key points or a quiet space for those who are neurodiverse and might get overwhelmed by crowds). The goal is for everyone, regardless of ability, to feel that the festival thought of their needs. Festivals such as the Dublin Book Festival explicitly state their commitment to accessibility, listing features like accessible venues, accommodations for guide dogs, and contacts for any special assistance (dublinbookfestival.com). This level of transparency and preparation not only avoids issues on the day but also expands the festival’s reach to audiences who might otherwise stay away.
Author Hospitality: Treating Your Talent Like VIPs
Authors, storytellers, and speakers are the stars of any book or storytelling festival. How they are treated off-stage can significantly impact the success of the event – happy authors are more likely to give enthusiastic talks, mingle with attendees, and speak positively about the festival afterward. Seasoned festival producers put a lot of thought into author hospitality. This begins from the moment an author is invited: clear communication about travel and accommodation, and a warm, culturally aware welcome when they arrive.
One common practice is assigning each guest author a dedicated hospitality liaison or volunteer handler. For example, the Jaipur Literature Festival (JLF) in India, which draws authors from around the world, pairs writers with volunteer escorts who help with everything from navigating the venue to finding a quiet spot for a cup of tea. JLF’s organisers, led by festival producer Sanjoy K. Roy, pride themselves on showcasing Indian hospitality – authors are often hosted in a heritage hotel and treated to evening cultural events (like folk music performances or dinners at historic sites). The result is that many writers leave Jaipur raving not just about the huge audiences, but also about the memorable experiences and personal touches provided by the festival team.
At the Edinburgh International Book Festival, a famous feature was the Authors’ Yurt – a private tented lounge accessible only to festival speakers and staff. Within this sanctuary, writers find complimentary refreshments, comfortable chairs, and a quiet space to relax or chat with fellow authors. This concept (spearheaded by director Nick Barley during his tenure) has been praised widely; it gives authors a chance to form connections with each other away from the public eye, effectively turning the festival into a creative retreat as much as a public event. Not every festival can afford a dedicated “VIP tent”, but the principle holds: providing a green room or reserved area with snacks, drinks, and a calm atmosphere goes a long way. Even a small local storytelling festival can set aside a room at the venue with a coffee/tea station and a few comfortable seats for performers to decompress between sessions.
Logistics around author hospitality are also key. Ensure that transport is smooth – arrange airport pickups or clear driving directions, and consider having someone on-call to troubleshoot travel delays. Provide welcome packets at the hotel with schedules, local emergency contacts, and perhaps some local goodies. The Sydney Writers’ Festival in Australia, for instance, often includes a welcome gift bag featuring Australian treats and a note of thanks. Such gestures make authors feel valued. During the festival, manage their schedules thoughtfully: avoid back-to-back events without breaks, provide moderators or facilitators with preparation time to meet authors before events, and have volunteers guide authors to each stage on time. If the festival budget allows, consider hospitality suites or dinners where authors can unwind together – the networking and goodwill that emerge from these can be priceless. (Many a returning author will say, “I came back because last year they really took care of us.”) Conversely, learn from mistakes: festivals that have skimped on author care – such as failing to provide meals at odd hours or booking inconvenient lodging – often hear about it later through lukewarm feedback or difficulty recruiting speakers in subsequent years.
Managing Book Signing Lines: Logistics for Connecting Authors and Fans
One hallmark of book festivals is the book signing after an author’s talk. It’s that golden opportunity for readers to get a cherished autograph, a photo, or a brief personal word with their literary hero. But without good planning, signing lines can become chaotic or painfully long. Successful festivals handle signings with almost as much attention as the main stage programming.
First, consider the location and layout for signings. Ideally, the signing area is close to the talk venue but does not block circulation for others. Many festivals set up a dedicated “Signing Tent” or pavilion, often near the festival bookshop. For example, the Bay Area Book Festival in California centralizes author signings along a “Bookseller Boulevard” with clearly marked tables for each author, so attendees can find their line easily. They even post rules like mask requirements or no posed photographs to ensure the line moves smoothly (www.baybookfest.org). Similarly, the U.S. National Book Festival uses a numbered system: each author signing is assigned a line number in a big autographing area, and festival maps list these so people can queue in the right spot (www.loc.gov). This avoids the confusion of multiple queues overlapping.
Staffing is crucial. Trained volunteers or staff should be at each signing, managing the queue, answering questions, and politely but firmly enforcing any policies (such as book purchase requirements or limits on number of items to sign). A common approach is to limit each fan to one or two signed items, especially for very popular authors, so the line keeps moving. Some blockbuster authors can draw hundreds of fans; in those cases, festivals might hand out line tickets or wristbands to the first, say, 100 people in line, and gently cut off the line after that number to avoid disappointment later. Posting signage like “Signing Line Starts Here” and estimated wait times can also help manage expectations.
Another aspect is timing. Build in sufficient gaps in the schedule after an author’s talk to allow for a signing period (typically 30-60 minutes depending on popularity). Festivals in hot climates or outdoors often provide canopies, water, or fans near the signing queues – no author wants to hear that a fan fainted waiting in line! Additionally, coordinate with on-site booksellers: ensure the bookseller has plenty of the author’s titles on hand at the signing area, especially the latest book. One best practice is from the Toronto International Festival of Authors, where they station a mobile cart of books near the queue so attendees who didn’t buy the book beforehand can do so while waiting. This boosts sales and keeps the excitement immediate.
For the authors’ comfort, have a chair, table, and pens ready (and a backup pen – those tend to run out during multi-hundred-signature sessions). A bottle of water on the table is a must. Volunteers can offer to take the attendee’s photo with the author (using the attendee’s phone) to prevent delays from fidgeting with cameras. If an author has to leave at a certain time, volunteers should begin managing the cutoff well in advance, perhaps informing those further back that it’s not guaranteed everyone will get a signing. Transparency and politeness go hand in hand here. When done right, signing lines become a delightful part of the festival’s buzz – a place where readers excitedly chat with each other and walk away thrilled, book in hand, signature obtained.
Handling Sensitive Content and Cultural Sensitivities
Cultural book and storytelling festivals often delve into complex, sometimes sensitive topics – from personal trauma memoirs and graphic historical accounts to controversial political opinions or adult-themed performances. Handling such content with care and respect is another crucial area of festival management. Sensitive content protocols are essentially guidelines and practices to ensure that potentially distressing material is presented responsibly and that the audience is prepared (and comfortable).
One of the simplest yet effective tools is the use of content warnings in event descriptions. Many festivals have adopted a practice of adding a brief note if a session contains strong language, violence, sexual content, or other potentially triggering material. For instance, the Brisbane Writers Festival in Australia labeled an event “NSFW: Content Warning” in its program for a late-night adults-only storytelling session, explicitly noting it would include sexual references and adult themes (bwf.org.au). By being upfront, festivals give attendees the agency to decide what to attend (or to prepare themselves mentally if they do). It’s advisable to also have a sign at the venue entrance reiterating any content warning for that session, just in case someone missed it in the program.
When young audiences are present or when the festival is billed as “family-friendly,” content protocols are even more important. A festival might designate certain talks as 18+ or parental guidance recommended. For example, a graphic war memoir discussion might be scheduled in the evening with clear age advisories, whereas daytime slots might be reserved for universally appropriate content. Moderators can be briefed to handle difficult discussions tactfully – perhaps a note to check in with an audience (“Some of what we’ll discuss might be upsetting, please feel free to step out if needed”) at the start of a heavy session. In the Q&A portion, moderators should be ready to gently intervene if an audience member’s question or comment becomes disrespectful or too intensely personal for the setting.
Another aspect of sensitivity is respecting cultural contexts. In multicultural festivals or festivals held in culturally conservative regions, producers should be aware of local norms. The Ubud Writers & Readers Festival once had to navigate government sensitivities around certain historical topics – they did so by framing conversations carefully and providing disclaimers that opinions were the speakers’ own. And in 2012, the Jaipur Literature Festival faced a high-profile controversy when the appearance (via video link) of author Salman Rushdie, whose work was banned in India at the time, sparked security concerns. The festival organizers had to cancel the session at the last minute under police advice, illustrating how content can become a security risk. The takeaway there was to always have a crisis management plan: be in dialogue with local authorities if controversial figures are involved, have extra security on hand for potentially inflammatory sessions, and be ready to issue public statements or apologies if something offensive slips through.
For storytelling events that often involve personal narratives, there’s an unwritten protocol of creating a supportive environment. If someone’s story involves trauma (say, surviving abuse or loss), festivals might provide information about counseling or helplines in the program or on screen at the end. Some even have counsellors or support volunteers on site, particularly if the event focuses on community healing or similar themes. It’s also important to brief storytellers about boundaries – e.g. discouraging explicit graphic detail if not necessary, or at least warning the audience if it will be very intense. Ultimately, sensitive content protocols boil down to respect: respect for the subject matter, for the storytellers’ freedom of expression, and for the audience’s varied life experiences and comfort levels.
Tracking Impact: Book Sales and Reading List Conversions
Beyond the immediate festival buzz, how do you know if a book or storytelling festival truly succeeded in leaving a lasting impact? One key measure is book sales. Nearly all literary festivals partner with one or more booksellers to sell authors’ works on-site, and it’s common to tally up sales at the festival’s conclusion. These figures can be impressive – and telling. For example, one report noted that the on-site bookstore at the Hay Festival in the UK sold 35,000 books in 2013, and the Edinburgh International Book Festival’s shop sold around 60,000 books in that year. This not only indicates robust attendance and interest, but also how effectively sessions drove people to purchase books (bambooinnovator.com). Tracking which titles sold out or which authors had the longest signing lines can provide concrete feedback on programming choices. If a debut novelist sells hundreds of copies after a great panel, that’s a signal to invite similar voices next time. Many festivals share these statistics with publishers and sponsors to demonstrate their cultural and economic impact (and it certainly helps when recruiting authors for future editions – writers love to know there’s a buying audience!).
But sales on site are only part of the picture. Reading list conversions refer to the festival’s ability to inspire ongoing reading and literary engagement. In simpler terms: did attending the festival prompt people to read more, explore new writers, or join literary communities? This can be a bit harder to quantify, but innovative approaches can yield insights. Some festivals conduct post-event surveys asking attendees which authors or books they discovered and plan to read. Others use digital tools – for instance, a festival app might allow attendees to “bookmark” events or books they’re interested in, effectively creating a personal reading list that organizers can analyze in aggregate. The Singapore Writers Festival integrated with an e-book platform one year, offering discount codes for featured books; by tracking code redemptions, they gauged how many people followed through to obtain those books after the sessions.
Libraries can be allies in measuring impact too. A festival might partner with local libraries on a “festival reading challenge” – attendees get a list of featured books and check off those they’ve read in the following months. The Brooklyn Book Festival, for example, works with the Brooklyn Public Library to promote authors’ works year-round; library checkout data often shows a spike in borrowing for authors who appeared at the festival. Similarly, smaller storytelling festivals might track things like membership growth in local storytelling clubs or increased attendance at open-mic story nights after the festival.
From a producer’s standpoint, it’s wise to set some KPIs (Key Performance Indicators) beyond ticket sales. These could include: number of books sold per attendee, number of social media mentions of “Now I want to read [book]after hearing [author]”, and conversion rate of attendees to subscribers/followers of the festival’s own book club or newsletter. Ticketing platforms like Ticket Fairy can assist here by integrating merchandise (book) sales with ticket sales data, and by providing analytics on attendee engagement. For instance, if an attendee bought a festival pass through Ticket Fairy, you might also see which sessions they checked into (via QR codes or an app) and later correlate that with book sales at the on-site store for a holistic view of engagement.
In essence, tracking sales and reading conversions is about understanding and amplifying the festival’s impact on literary culture. It demonstrates that the festival isn’t just a fun weekend, but a catalyst for ongoing readership. When you can point to stats like “80% of surveyed attendees said they discovered at least two new authors they plan to read,” you make a powerful case to sponsors, publishers, and the community that book festivals truly matter.
Community Engagement: Extending the Festival’s Cultural Impact
The best cultural festivals don’t last just a weekend – they ignite conversations and activities that continue year-round in the community. Festival producers have found creative ways to engage local audiences beyond the main stages. For example, the Edinburgh International Book Festival runs a Communities Programme that brings free literary events to neighbourhoods and supports local groups in putting on their own storytelling sessions. They even host community meals in a special “Storytime Yurt,” mixing resident storytellers with international authors. These initiatives have strengthened community bonds and made the festival a source of local pride.
In the Caribbean, the NGC Bocas Lit Fest in Trinidad and Tobago has earned acclaim not only for its vibrant annual programme but also for its continuous outreach. The festival team (led by director Nicholas Laughlin) spends uncountable hours nurturing Caribbean literary talent – from workshops for emerging writers to school visits that inspire young readers. Their efforts have helped put Caribbean authors on the world map and built a loyal home audience that feels personally invested in the festival’s success.
Meanwhile, storytelling festivals often tap into the richness of local oral traditions. The Scottish International Storytelling Festival regularly includes community story circles and ceilidhs (social gatherings) where local people are invited to share folktales alongside professional storytellers. Such events celebrate indigenous languages and traditions, and the results are powerful: audiences report a deeper connection with their heritage, and these festivals become custodians of cultural memory.
By engaging with communities – whether through educational outreach, year-round book clubs, or collaborations with local cultural institutions – festivals amplify their cultural impact. They’re not just one-off events; they become an integral thread in the cultural fabric of their cities and regions. And importantly, giving a platform to local voices alongside famous names earns festivals tremendous goodwill. Festivals that invest in community engagement often find that the community, in turn, invests in the festival — through volunteerism, sponsorship, or simply enthusiastic attendance every year.
“Words Need Space and Silence”: Crafting the Right Environment
Perhaps the most defining characteristic of cultural book and storytelling festivals is the reverence for words. Unlike music festivals dominated by amplifiers or street fairs buzzing with constant noise, these festivals thrive on silence as much as sound. It’s in those hushed moments – the pause before a punchline in a story, the quiet thoughtfulness as an author reads a poignant paragraph – that the magic happens. Wise festival organizers understand this and weave it into their planning.
Scheduling plays a role here. Avoiding too many parallel events aimed at the exact same audience ensures that sessions aren’t marred by noise bleed or the FOMO of feeling torn between stages. Some festivals deliberately insert short breaks between sessions in the same venue, allowing crowds to exit and enter without disrupting an ongoing talk elsewhere. The idea is to give words room to breathe. At a practical level, that might mean not situating a lively storytelling-for-kids tent directly next to a panel on meditation poetry – each has its own vibe and sound level. Instead, create sound zones: cluster the energetic interactive events in one area, and the quiet, intense discussions in another.
Another trick is embracing the concept of “quiet corners.” Festivals like Toronto’s Word on the Street (a large book fair) have learned that amidst the bustling marketplace of books, providing a tucked-away corner with some seating and low ambient noise allows attendees to recharge (and maybe read a few pages of their newly bought book). Storytelling festivals, particularly those in natural settings, often encourage attendees to take reflective walks or sit under a tree between sessions – treating silence and reflection as part of the itinerary, not just a byproduct.
Producers should also train staff and volunteers on the ethos of the event: festival crew need to help cultivate the right environment. That could be as simple as reminding volunteers not to chat loudly near venues, or coordinating how ushers handle latecomers (e.g., only between stories or during applause breaks, to minimize disturbance). In community venues like libraries or schools, work with the facility to turn off any loud air conditioning units or buzzing fluorescents if possible during performances. And always have a plan for unexpected noise – if a helicopter flies over or a vendor’s generator starts chugging, be ready to pause, repeat, or use a standby handheld mic to maintain atmosphere.
In summary, “words need space and silence” is both a metaphor and a literal guideline. Culturally rich festivals recognise that the best experiences often happen in those attentive, silent connections between the audience and the storyteller or author. By protecting and nurturing that space – through careful venue choice, scheduling, layout, and staff training – festival producers create an ambiance where words can truly resonate.
Key Takeaways
- Prioritize Acoustics: Invest in good sound equipment and venue layout to ensure every spoken word is clear. Conduct soundchecks and mitigate noise (rain on tents, traffic, etc.) so that even a whisper can captivate the audience.
- Audience Comfort: Provide comfortable seating, climate control, and adequate space. A physically at-ease audience is more likely to remain engaged through long sessions. Little touches (cushions, shade, water) make a big difference.
- Accessibility Matters: Integrate sign language interpreters and live captioning to include deaf or hard-of-hearing attendees. Ensure venues and schedules accommodate people with disabilities. An inclusive festival broadens its community impact.
- Host Authors Graciously: Treat your authors and storytellers like honoured guests. Smooth logistics, a quiet green room space, thoughtful scheduling, and local hospitality go a long way in attracting and retaining top talent for your festival.
- Efficient Signing Line Management: Plan for orderly book signing sessions with clear signage, staffing, and time management. This keeps the experience positive for fans and manageable for authors, even when lines are long.
- Handle Content with Care: Implement content warnings and respectful moderation for sensitive topics. Be mindful of cultural contexts and have protocols for controversial content or emergencies. A festival can tackle tough subjects while still caring for its audience’s well-being.
- Measure the Aftermath: Track book sales during the event and gather data on what attendees plan to read afterwards. Use surveys or tech tools to understand the festival’s influence on reading habits. Demonstrating strong “reading conversions” can help justify the festival’s value to sponsors and the community.
- Create Space for Words: Above all, design your festival environment to celebrate the spoken and written word. That means giving stories the quiet, focused atmosphere they need. Balance your scheduling and layout to minimise noise and distraction, allowing the power of storytelling to shine through.
14th September 2025