For the book trade, or indeed, any trade conference in February 2017, there are certain topics that simply cannot be avoided – both in the light of recent developments and in the foreshadowing of events still in the making.
When this year’s Scottish Book Trade Conference began on 22nd February in Edinburgh’s Central Hall, shortly after 9.30 AM and what must have been the third coffee for several delegates (this being inferred from personal experience), one could hardly be surprised to hear statements more of a socio-political relevance than what would have been the norm. Literary agent Jenny Brown, in whom Publishing Scotland had found a remarkably passionate chair for the event, opened the conference by emphasising the cross-national power of the written word, and Publishing Scotland’s chief executive Marion Sinclair subsequently took a similar line, speaking of no less than the book trade’s adaption to a possible new world order, while also stressing the catalyst power of hope as an engine of the book trade.
The keynote speech of the day, however, was given by Barry Cunningham, managing director at Chicken House, and widely known in the industry as the editor who signed J.K. Rowling for Bloomsbury. A children’s publisher – an interesting choice in the preceding context, but one that was proven the absolutely right one. Capturing the essence of the conference, he began by stressing the overall success which the children’s sector is currently experiencing, and he explained how to encourage (and financially support) new authors. Cunningham also peppered the keynote with socio-cultural undertones: While stories were being read in many different ways around the world, it was always the villains who “make the most difference – whether it is a situation or Lord Voldemort.”
The speech did not fail to grasp long-term changes in a genre that was once highly educative, moralising, and always teaching children “about good deeds” – something Cunningham later contrasted with the “more real issues” in children’s books today – where, for example, adults are no longer patronising and infallible moral institutions, but instead appear as they really are: “interesting and flawed.”
Addressing successful formulas of the present and challenges of the future, Cunningham pointed to the growing significance of reader connection: the existential importance of browsability and discoverability as well as the rise of fan fiction. For the stories themselves he gave a slightly more concrete advice: the “enormously important way to secure an audience is the sense of humour.” (The speaker himself had absolutely won his audience at the moment he cited J.K. Rowling who, when asked why Cunningham had taken on a book that many others before him had turned down, allegedly described him as “the only publisher who was a giant costumed character himself.”)
Overall, Cunningham did not disappoint in the least, delivering a speech that was informative and trade-specific as well as inclusive of wider socio-cultural trends – perhaps no less important, it was entertaining and humorous enough to set the tone for what was to be a diverse and interesting conference up until the end. And if one was to reconstruct the chord in which the keynote was given, they may be reminded of how Cunningham quoted a young girl that, when asked in school about the reason for reading a book, replied: “We read so our own story does not have to end where it began.”
– Stephan Pohlmann
