Audiences to Live Literature Events January 2020 Contents:

3. Foreword 4. The Big Picture 5. Who attends Live Literature Events? 7. Where do audiences come from? 9. How do they attend events? 11. Why do people visit? 13. What do they think of the experience? 15. Spotlight on Event Types 16. Spotlight on London 17. Participating organisations 18. Context and methodology 19. Get in touch 3

An enormous range of Live Literature events This is also a big enough pool of data to allow us to recognise take place across the country, in many the great variety within it. We can see how different particular types of Live Literature are from each other, the extant to which different settings – the author event in a audiences differ by place and the role that different groups’ bookstore, the poetry slam in a bar, the open varying motivations play in that diversity. The rich variety of mic in a café, the literary festival in a marquee, Live Literature events is matched by the heterogeneity of its audiences. Moreover, while the overall satisfaction is remarkably the literary talk in a village hall… Although high (98% good or very good), we can break those numbers Live Literature can be enhanced by the down by groups and demographics to prompt reflection on what technical resources of well-equipped venues, can be done to further grow audiences and increase the impact of future Live Literature events. it doesn’t always need them and can flourish in unofficial settings and quiet corners. Beyond the use – and comparisons with ­– the overall figures given here, we hope that this report will encourage greater We love that Live Literature exists in all these ways and appetite among Live Literature organisations to better freely acknowledge that this report can’t (and doesn’t try to) understand their audiences. The Audience Agency provides a cover all of them. Instead, it draws together what we know wide range of courses, services and tools that can help, including of Live Literature from the many hundreds of organisations Audience Finder itself, but we want to learn from literature that contribute booking and survey data to Audience Finder. organisations too. If you have insights and analysis of Live Even then, Live Literature events represent a small slice of Literature audiences that you’d like to share with us, we’d be Audience Finder data: roughly 1% of bookers and 0.5% of very interested to see them. tickets. But one of the advantages of having such a large overall dataset is that this small proportion still represents a lot of information – over a 100,000 bookers from more than Oliver Mantell, Policy Research Director and lead for Literature 100 venues and 12,000 surveys. Anne Torreggiani, CEO 4

The Big Picture What do we know about Live Literature Events audiences?

Young adults – 16 to 24 year olds 50% of audiences to Live Literature Events – are underrepresented in Live belong to the most highly engaged Literature audiences, compared Audience Spectrum segments, though with both broader cultural Poetry and Spoken Word is more successful consumption and the population. at attracting lower engaged groups.

Over 50% of all audiences at Live Literature Over 80% of Live Literature bookers attend events listed intellectual stimulation, an event in the region in which they live, learning and inspiration among their higher than is typical for other artforms.​ key motivations for attending.

Whilst over 40% of Live Literature Whilst typically low engaged groups audiences enjoy the event in adult rate their satisfaction at attending Live groups, typically in pairs, a third Literature Events the most highly, this attend alone – significantly more enthusiasm does not translate into than is typical of many artforms. likelihood to recommend the events. Who attends Live Literature Events? 5

Both box office and survey data from literature events show an Age × Ethnicity attender profile that is spread across the population, but with higher 40% 30% 23% 32% 27% 28% 22% 26% concentrations in the higher engaged Audience Spectrum segments. 20% 17% 24% 21% 18% 13% 18% Metroculturals are particularly over represented in the data 14% 14% 16% 15% 14% 12% 11% 11% compared with the population, as were Commuterland Culturebuffs 9% 5% 6% 6% 4% and Experience Seekers. Whilst 58% of audiences to these events are 2% 2% over 45, younger groups are better represented in BAME audiences. White65 and over Asian or 65Asian and over Black65 or and over Mixed / Multiple65 and over Other65 and over

55 - 64 British55 - 64 Black British55 - 64 ethnic background55 - 64 55 - 64

45 - 54 45 - 54 45 - 54 45 - 54 45 - 54 Age × Live Literature × Audience Finder Benchmark × Population 16-2435 - 44 25-34 35 - 44 35-44 35 - 4445-54 55-6435 - 44 64 or older35 - 44 25 - 34 25 - 34 25 - 34 25 - 34 25 - 34

16 - 24 16 - 24 16 - 24 16 - 24 16 - 24 21% 21% 22% White audiences tend to be older, whilst Interestingly, the 35 – 44 year old age bracket, 20% 21% 20% Black and Mixed ethnicity audiences are more which is unusually highly represented in 17% 18% 17% 17% 17% 15% 14% 15% 15% 14% likely to be millennial, which is in line with the Literature Events audiences, is dominated by demographic16-24 make25-3 4up of35-4 the4 population.45-54 55-64 64 orAsian older and Asian British Audiences. 9% 6% Spotlight on Asian / Asian British audiences

Live Literature Events Audience Finder Benchmark Population Quality of Asian / Asian British audiences Live Literature Events inside and outside of London 16-24 25-34 35-44 45-54 55-64 64 or older 72% 18% Quality London Young adults are underrepresented in 35–44 year olds, however, are 66% 11% Live Literature audiences, compared with significantly more engaged in this both broader cultural consumption and artform then we typically see from this 63% 6% Value for Outside the population. age group. London Money 57% 3%

69% 8% Ethnicity × Live Literature × Audience Finder × Population Whole England Experience 92% 66% 4% 88% 85% Live Literature events are slightly less dominated Population i by White audiences than is typical of cultural Overall attendance in general. Asian / Asian British Asian / Asian British

4% 8% Notably, not only were Asian/Asian This effect was not found with other 3% 3% 3% 3% 2% 2% 1% 1% 1% 1% British audiences underrepresented minority ethnic groups and is particularly White Asian or Black or Mixed /Multiple Other compared with the population, both pronounced over the Asian British Black British ethnic background within and outside of London, but they age of 55. also returned lower event quality ratings. Live Literature Audience Finder Benchmark Population TOP TIP: Use the information about the Audience Spectrum segments on the Audience Agency website to find out more about 6 each groups tastes, preferences and behaviours, to help you tailor events to those you are trying to reach.

High engagement Medium engagement Low engagement Top Audience Spectrum Groups: Almost half of all audiences to Live Literature come from just 2 Audience Spectrum groups : Literature Events 10 26 11 20 10 10 6 2 3 % 10 26 11 20 10 10 6 2 3 Commuterland Culturebuffs 10 26 11 20 10 10 6 2 3 26% Affluent and professional consumers of culture. Audience Finder 10 18 12 17 14 10 6 6 5 2 % Benchmark 10 18 12 17 14 10 6 6 5 2 10 18 12 17 14 10 6 6 5 2 Dormitory Dependables Suburban and small Engand Population 2 5 11 8 14 16 11 10 10 10 5 % 20% towners interested in mainstream arts. aged 15+ 5 11 8 14 16 11 10 10 10 5 5 11 8 14 16 11 10 10 10 5 5 29 9 23 12 11 6 3 2 Author Readings 5 29 9 23 12 11 6 3 2 % 5 29 9 23 12 11 6 3 2 Different kinds of Library Events/ 4 32 11 19 8 14 4 3 3 Live Literature Event: Reading Groups 4 32 11 19 8 14 4 3 3 % 4 32 11 19 8 14 4 3 3 Whilst 50% of audiences to ‘Literary Talks’ belong to 10 29 11 21 10 10 4 2 2 the most highly culturally engaged groups, ‘Poetry Literary Talks 10 29 11 21 10 10 4 2 2 % 10 29 11 21 10 10 4 2 2 and Spoken Word’ is more successful than other 10 20 13 21 13 8 5 3 6 Literature Event Types at attracting audiences who are Poetry/Spoken Word 10 20 13 21 13 8 5 3 6 % usually low cultural engagers. 10 20 13 21 13 8 5 3 6 6 20 9 26 19 8 4 4 3 Storytelling, on the other hand, is dominated by mid- Storytelling 6 20 9 26 19 8 4 4 3 % 6 20 9 26 19 8 4 4 3 engaged and family-heavy groups and has the lowest 10 22 19 17 12 7 4 3 4 percentage of highly engaged groups. Other Literature 10 22 19 17 12 7 4 3 4 % 10 22 19 17 12 7 4 3 4 11 20 8 21 15 9 6 4 4 2 11 20 8 21 15 9 6 4 4 2 Performing Arts 11 20 8 21 15 9 6 4 4 2 % Live Literature vs other artforms: 6 14 10 18 16 12 9 9 4 3 6 14 10 18 16 12 9 9 4 3 Live Literature audiences’ engagement levels are quite closely Museums 6 14 10 18 16 12 9 9 4 3 % aligned to those for the Performing Arts in general: 20 12 19 13 9 7 5 5 9 20 12 19 13 9 7 5 5 9 Visual Arts % 20 12 19 13 9 7 5 5 9 Live Literature 47% 40% 12%

 

Performing Arts 39% 45% 16% Comuterland Experience Dormitory Home & Up our Facebook Kaleidoscope Metroculturals Trips & Treats Heydays Culturebuffs Seekers Dependables Heritage Street Families Creativity High Medium Low

FOOD FOR The low satisfaction, quality ratings and NPS scores of Asian / Asian British audiences suggests an area in which the literature THOUGHT: sector could do better if it wishes to serve all parts of the population, perhaps through more diverse recruitment, better support for Asian/Asian British artists and greater consultation with Asian/Asian British communities around programming. Where do audiences come from? 7

Audiences to literature events are notably local. That said, variations by audience type remind us that these patterns result partly from where different groups live and partly from where they go. Most of the Over a third of 41% of literature UK’s Metroculturals, for example, live in London or other major cities, so benefit from a high proportion 1 all bookers live audiences travel of nearby cultural opportunities. At the same time, though, these hyper-cultured Metroculturals are within 15 minutes 41% fewer than 5 also more likely than other groups to travel further afield, given the right offer, with 1 in 5 journeying 3 of the event they miles to the more than 50 minutes from home to an event. The similarly local and urbanite, though typically younger attend. event. and more diverse, Experience Seekers, on the other hand, don't tend to travel such long distances.

Distance travelled × Audience Spectrum Literature event type × drivetime 60 13 21 3 12 8 % Metroculturals

5% Comuterland 7% 9% 0-15 35 18 13 7 7 6 7 7 % Culturebuffs 6% 9% mins 38% 7% 39% Experience  14% 15-30 67 8 6 2 3 4 5 5 % Seekers 13% mins 30% 23% Dormitory  30-45 32 20 13 8 8 6 5 8 % Dependables mins Author Readings Literary Talks 45-60 35 20 12 7 7 6 5 7 % Trips & Treats mins 6% 7% 1-2 Home & 36% 30% 7% 33 20 13 9 8 6 6 6 % 34% hours Heritage 17% 21% 2 Hours 38 19 12 9 7 6 4 4 % Up our Street 3 29% or more 3 7%

Facebook 41 17 10 8 7 6 4 6 % Storytelling Poetry/Spoken Word Families 2 3 Kaleidoscope  6% 10% 46 26 8 2 2 3 7 6 % 10% Creativity 13% 43% 5% 43% 41 19 11 6 8 7 4 5 % Heydays 13% 33% 19% 40 18 11 6 6 6 6 7 % All bookers Library Events/ Other Literature Reading Groups 0-4 5-9 10-14 15-19 20-29 30-49 50-99 100+ miles miles miles miles miles miles miles miles TOP TIP: Use Audience Finder to compare the profile of your local and non-local audiences. Our Drive Time and Distance Report 8 can help you define what ‘local’ means for you and better understand your catchment area.

% of bookers attending Live Local Audiences Literature events in the Given that, at a regional level, literary event attenders tend to stay relatively close to home, region in which they live it's interesting to dig a little deeper into this idea of literary localness. At Local Authority 90% level, 40% of all bookings were for events in the booker's home Local Authority, although this

varies considerablyculturals by audience profile and the type of literature event they are attending. Metro- South East

92% culturals Metro- % of bookers attending in the Same LA × Audience Spectrum Commuterland 92% West Midlands Culturebuffs Whilst prosperous, urbanite

MetroculturalsCommuterland 35% 88% Culturebuffs Metroculturals account for Comuterland 91% East 37% just 12% of bookings within 80% Culturebuffs the same local authority and ExperienceExperience  Seekers 61% 90% North East Seekers 17% of those outside it, the Experience DormitorySeekers Dependables 37% proportions are reversed for Yorkshire & the Humber 71% 88% Trips & Treats 43% the more diverse and digitally minded Experience Seekers. Dependables 80% North West 92% HomeDormitory & Heritage 37% Dependables 91% Dormitory Up our Street 34% Experience Seekers are in 78% London fact by far the most local Facebook Families 43% literature audiences, with 71% East Midlands Kaleidoscope  Creativity 32% 61% of this group booking 78% Tips & Treats to attend events within their 92% Heydays 45% South West own Local Authority area. Tips & 71% Treats Overall 40% 71% Heritage % of bookersHome & Attending in the Same LA × event type Heritage AuthorHome & Readings 40% In terms of literary event type, Author Readings and Library Events/

Up Our 37% ReadingStreet Groups Library Events (including

Up Our Reading Groups) attract the Street Literary Talks 34% Facebook On average, 81% of Live Literature event bookers attend an event in Families most hyper-local audiences, Other Literature the region in which they live. Whilst this number does vary across Facebook 34% Families which is perhaps unsurprising Kaleidoscope 81% the country, the percentage of audiences attending events in their Creativity Poetry/Spoken Word 32% given libraries' known appeal Kaleidoscope home region is higher than is typical for other artforms. Creativity to a broad cross-section of Storytelling 33% local communities.

FOOD FOR This hyper-localness has implications for programming and how to reach an inclusive audience. What are the best ways to stage events close to THOUGHT: the communities that you want to reach? Or what changes to your event formats might even reach an audience from further afield? How do they attend events? 9

Live Literature audiences within Audience Finder crossover a lot with other artforms, while differing substantially between 'types' of literature. We don't therefore see a unique 'Live Literature' audience as such, but one that commonly attends a variety of artforms. Where audiences have exclusively attended Live Literature events, however, they tend to stay loyal to a particular type. More so than is typical of many artforms, Live Literature audiences are new, growing, explorative and uncommonly eager for a solitary experience.

Frequency Crossover Group type × Age

Whilst over 40% of Live Literature audiences enjoy the event in adult average 20% groups, typically in pairs, a third group size attend alone significantly more 33% than is typical of many artforms. 37% 63% 3 44% However, different group types people 80% have very different age profiles, with respondents attending as part of a family particularly likely to be 35–44 and the proportion of single 23% adults highest for 16–24s.

First Time Attenders Literary event only bookers Single adult Families Repeat Attenders Other artform bookers Adult groups

of Live Literature audiences of literature bookers also 28% 8 63% 65+ 24% booked for just one event. 80% booked for other artforms in the same year. 34% 7 59% 55-64 of Live Literature audiences booked only for Live 76% booked on more than 20% Literature events. 34% 20% 46% 45-54 Age one occasion. Most of Broken down: these additional bookings, 29% 50% 22% 35-44 however, were for non- • 16% were one time literature events. bookers • 4% booked more than 35% 35% 30% 25-34 of repeat bookers only once for literature 60% booked once for Live without booking for other 46% 9 45% 16-24 Literature Events. artforms as well. TOP TIP: Given the low crossover between types of literature, but high crossover with other art forms, cross-promoting 10 with other artform events that have similar topics or target audiences could help grow your audience.

% crossover between different types of Live Literature Event of audiences booked for of repeat bookers attended Author Readings Literary Talks Other Lit. Events 6% multiple types of Live 40% multiple Live Literature Literature event. events. Broken down: Poetry / Spoken Word Library Events / Reading Groups Storytelling • 33% booked again for the of audiences booked 35% same event type.

multiple times for 5% 25% • 7% booked for another type the same type of Live 12% of Live Literature. 4% Author Author Literature event. Readings 3%

12% 32% Audiences who attended more than one type of Live Literature Event are more likely 29% to be from Medium Engagement Audience Spectrum segments that are typically Talks

Literary 6% based outside of London. Most notably Dormitory Dependables and Trips & Treats. 3%

5% 12% Event type crossover × Audience Spectrum 3%

Poetry / Poetry 4% Of audiences who attend multiple types of Live 26% 26%

Spoken Word Spoken 2% Literature event, the greatest crossover was between: Crossover Audiences

22% 1% 20% Author Readings All Literature Bookers 1% 35% 1% and Library Events

Events 0% 0% Other Literature Library Events 12% 11% 11% 31% and Literary Talks 10% 10% 10% 10% 1% 9% 0% 6% 0% Other Literature 5% 1% 29% and Literary Talks 3% 3%

Storytelling 2% 2% 1% 1% 1%

Poetry/Spoken Word and, in particular, Storytelling 2% on the other hand have relatively low levels of   1% crossover with all other second tier literature 0% Up our artforms, suggesting more distinct audiences, Home & Street Facebook Heydays 0% ExperienceSeekers Dormitory Heritage Families Creativity relative to the other literature categories. Comuterland Trips & Treats Kaleidoscope Library Events / Events Library Reading Groups Reading 0% Metroculturals Culturebuffs Dependables

FOOD FOR Poetry and Spoken Word and Storytelling audiences are particularly distinct from other literature audiences: THOUGHT: perhaps further analysis would reveal more detailed sub-types within these categories as well. Why do people visit? 11

Motivations vary by Audience Spectrum segment. Overall, Learning What were your motivations are highest among highly culturally engaged groups, motivations for attending All Main Over 50% of all audiences at Live while Social motivations are more popular among the typically low this event today? Literature events listed intellectual engaged and Entertainment rated particularly highly for those of stimulation, learning, entertainment medium engagement. It is notable that live literature audiences To be intellectually and inspiration among their stimulated 57% 18% motivations for attending. are more likely to be motivated by learning than even museum and visual arts audiences, previously the highest activity categories To learn something 56% 12% Live Literature audiences express we've seen for this type of motivation. This doesn't seem to be linked more cerebral motivations than is to current participation in formal education, since it progressively To be entertained 53% 13% typical for audiences of many other increases with age. artforms. To be inspired 50% 10% For example: Motivations: Main/All To enjoy the atmosphere 41% 2% Learning was the Main Motivation of: 77% Main motivation Literature is an important part of who I am 41% 12% 34% of Live Literature audiences All Motivations 58% 60% 24% of Museum audiences To spend time with friends/ 53% 30% 9% family 22% of Visual Arts audiences

40% To do something new/out 7% of Outdoor Arts audiences 26% 4% 34% 32% of the ordinary and Self Actualisation was the 19% For reflection 15% 1% Main Motivation of: 17% 12% 11% 10% 10% of Live Literature audiences 6% 5% 5% To entertain my children 14% 5% 2% 7% of Museum audiences To educate/ stimulate 14% 5% 15% of Visual Arts audiences my children Self- Social Other 6% of Outdoor Arts audiences Learning Reflection Escapism Professional For professional reasons 14% 6% / Academic / relaxation Entertainment actualisation whereas Socialising was the Main Motivation of: To escape from everyday life 9% 0% 12% of Live Literature audiences of all audience members identified Learning intentions to be For a special occasion 7% 1% 77% among their motivations for attending a Live Literature event. 28% of Museum audiences For academic reasons 6% 1% 19% of Visual Arts audiences 38% of Outdoor Arts audiences Furthermore, more than a third of people identified Learning as their For peace and quiet 2% 0% ⅓ main motivation, above Entertainment (19%) and Social (12%). Other 6% 3% TOP TIP: To understand the motivations of your own audiences and how they vary: ask them. Motivation questions are 12 included in the core Audience Finder survey, which you can use to compare with these sector-wide figures.

Motivation × Age Main Motivation × Engagement Level

39%

45% 33% High Medium Low engagement engagement engagement 40% 28% 35% 23% 30% 17% 16% 15% 25% 14% 13% 11% 11% 20% 10% 10% 10% 10% 7% 7% 6% 5% 5% 5% 15% 4% 2% 2%

10% Learning Professional Social Entertainment Reflection Escapism Self- Other /Academic /relaxation actualisation

5%

16 - 24 25 - 34 35 - 44 45 - 54 55 - 64 65 or more Main Motivation × Group Type

36% 34% 32% Single adult Learning Reflection/relaxation Self-actualisation 29% Families Professional/Academic Escapism Other 26% Adult Groups Social Entertainment

18%

15% Motivations vary notably by age, with LearningReflecti on/rReflectionelaxation and relaxation and Self-actualisation 13% 13% Learning Self-actualisation 12% 12% (whilst always popular) becoming more as motivations dip towards middle age, but (mostly) 11% 9% prominentProfes assi onalage /increasesAcademi.c Escapism rise thereafter. Other 6% 5% 5% 5% Entertainment increases starkly amoungEnte ager tainme16–24nt year olds ' motivations differ significantly from 3% 3% 3% 3% 3% Social 1% 1% groups with young families then drops away other age groups. For the youngest adults Reflection Learning Professional Social Entertainment Reflection Escapism Self- Other /Academic /relaxation actualisation again after middle age, as do Social motivations. and relaxation, Social and Self-actualisation are

second, third and fourth, behind Learning.

FOOD FOR Live Literature events, then, play different roles for different ages and group types. Considering motivations in your planning THOUGHT: can be key, as audiences will be larger where motivation and target groups align. Single adult Families Adult Groups What do they think of the experience? 13

Respondents are asked to rate their visit in terms of quality, % Rating Value for Money as 'very good' × Audience Spectrum value for money and their overall experience. The Net Promoter High Engagement Medium Engagement Low Engagement Score (NPS) asks visitors to rate how likely they would be to 69% recommend the experience to friends and families. Satisfaction 67% 67% 69% 66% 65% 65% 63% is high overall, and highest for some of the typically lower- 59% 61% engaged groups, despite their attending literature events less than other groups, relative to their proportion in the general population. This doesn’t, however, necessarily translate into higher levels of recommendations by these groups.

  How would you rate….? Street Up our Seekers Home &  Families Heritage Heritage Heydays

Quality Facebook 72% 26% 2 1% Creativity Dormitory Experience Culturebuffs  Dependables Kaleidoscope Comuterland Comuterland Trips & Treats Trips Metroculturals Value for 63% 30% 6% 1% money Quality ratings vary by Audience Spectrum group, with ratings for value for money The whole and the whole experience being higher among middle and lower engaged segments 69% 28% 2 1% experience Attenders from the groups typically least likely to attend gave the highest ratings for all three categories. Very Good Good Neither good Poor Very Poor nor poor Notably though, this enthusiasm from lower engaged groups does not necessarily translate into likelihood to recommend the events.

of respondents rated the quality 98% of Live Literature events as % Rating 'Very Good' × Engagement Level 'Very Good' or 'Good' 73% 73% 74% 72% 68% 69% 70% 62% 63%

63% Outdoor arts 72% rating satisfaction with Quality of the event as very 72% 67% Museums Quality of the Value for Event Overall good is markedly higher than event Money other artforms: 64% Visual arts High Engagement Medium Engagement Low Engagement TOP TIP: Net Promoter Scores are included in Audience Finder. Use this function to calculate your overall 14 NPS, as well as to drill down into satisfaction responses from different audience segments.

Net Promoter Score by... i Net Promoter Scores At 79%, NPS scores for Live Literature events are above ...Age Your Net Promoter Score (NPS) is an average the Audience Finder average 66 16-24 score based on how likely your audiences are of 74%. to recommend you to other people. 72 25-34

72 35-44 Older audience members were more likely 77 45-54 NPS × Audience Spectrum to recommend events, as were White audiences, although the main difference, 76 55-64 82% 82% 81% 81% as noted previously, was with Asian/Asian 80% 79% 79% 77% 75% British audiences. 76 64 + 72%

...Ethnicity

75 White Spotlight on: Asian or Asian Up Our Streets 66 British This group appears to have lower Black or 73 Black British satisfaction with the quality Mixed / Multiple of events (but not with events 69 ethnic background overall) and a lower likelihood to recommend literature events. 72 Other Most Satisfied Most Satisfied Least Satisfied Least Satisfied

One factor for the latter may be ...Group type

  because this group is particularly likely to be motivated by events 79 Adult Groups Street

Up our being ‘entertaining’ (second Seekers Home & Heydays

 Families Families Heritage Heritage 74 Facebook Creativity highest out of the ten segments). Dormitory Experience  Dependables Culturebuffs Kaleidoscope

Comuterland Comuterland 70 Single adult Trips & Treats Trips

Metroculturals Interestingly, a relatively high proportion of this group reports The most satisfied The least satisfied that ‘literature is an important ...Visitor frequency Audience Spectrum groups are Audience Spectrum groups are part of who I am’ Comuterland Culturebuffs and Kaleidoscope  Creativity and 77 Repeat visit Home & Heritage Up Our Street 70 First visit

FOOD FOR Are you open to criticism? Negative or indifferent feedback can be extremely useful in driving change and galvanising THOUGHT: a fresh approach to engagement, programming and improving facilities. If you're a writer or promoter, Showstats.org can provide insights into a tour across 15 Spotlight on Event Types multiple venues. Compare results with peers to get more specific comparators.

There is, of course, a wide variety of literature activity, much of which is outside the scope of this report: events where tickets are The bubble plot chart shows tickets These differences between types not sold, or where no transaction data is captured, or in venues per performance vs average ticket price of event, coupled with the relative which are not part of Audience Finder. There is also, however, byLive LiteratureEvent type, scaled by lack of crossover between types considerable variation even amongst the literature events we number of performances. We can see of literature (compared to within the stark difference in scale and price specific types of literature or do have data for.Comparing different types of Live Literature of Storytelling and Library Events, with arts engagement in general) event highlights how much the average scale and size varies. compared with other event types, in highlight the benefit of being Storytelling events, for example, tend to have audiences of just a particular Literary Talks, which are the more specific when talking about few dozen people with tickets costing under £5, whereas Author most highly attended. ‘literature’ audiences. Readings are typically more than double that in size and price.

Ticket Price vs Event Size (scaled by No. Tickets) Average Average Scale of Price number of income per Events range tickets sold ticket 180

Author Readings Mid 126 High £14.04 135 Literature Library Events / Total Small 23 Mid £8.56 Reading Groups 90 Literary Talks Large 167 Mid £11.46

Poetry / 45 Mid 92 High £14.09 Spoken Word Average Audience Size Audience Average

Storytelling Small 67 Low £4.74 0 £3.75 £7.50 £11.25 £15

Other Mid 85 Mid £7.76 Average Ticket Price

Author Readings Literary Talks Other Lit. Events

Within Poetry/Spoken Word, it was unusual for there to be more than Poetry / Spoken Word Library Events / Reading Groups Storytelling 1,000 people at an event (c. 0.2% of performances) but some of the poets drawing the biggest audiences included Pam Ayres, John Cooper Clarke, Kate Tempest and Benjamin Zephaniah: showing the range of poets and FOOD FOR Storytelling has below average ticket yield and smaller poetry than can achieve popularity. THOUGHT: than average event sizes, but longest travel times (36% over 2 hours): what opportunities might this indicate? Spotlight on London 16

The make-up and motivations of London and non London audiences Audience Spectrum vary, partly because of the different profile of London's population. %

50 London % Non-London % London audiences are younger, more diverse, with more Metroculturals London Population % Non-London Population % % (who are strongly over represented, even compared to the population) % % 33 % % 30 28 and more motivated by learning/professional and academic reasons. % % 24 % % Interestingly, it is the location of the organisation, not where people % % 19 18 % % 17 % % % % 15 % 14 % % 13 13 13

visit from, that seems to make the most difference to audience profiles. 12 11 % 10 10 % % % 8 % % % 7 7 7 % % 6 5 5 % % 5 5 % % % % % % % % % 3 3 % 2 2 1 1 1 1 1 1 1 % % 1 0 0

Ethnicity London organisation, London audience Metroculturals Comuterland Experience Dormitory Trips & Treats Home & Up our Street Facebook Kaleidoscope Heydays Culturebuffs Seekers Dependables Heritage Families Creativity 91% London organisation, non-London audience 87% 78%   63% Non-London organisation, London audience

Non-London organisation, non-London audience

• Only Metroculturals% were substantially over represented in London. % %

11% 13% % 8% 9% 8% 4% 3% 5% % % % % 4% % 3 2 3 2 1% 3 1% • Outside of London, Commuterland Culturebuffs, Experience Seekers and Dormitory Dependables were also over represented (but other groups, under represented). White Asian or Asian Black or Mixed / Multiple Other British Black British ethnic background Motivations 34% Age 31%

27% % % Non-London org, London audience 25% London org, London audience 39 39 % % % % 22 22 22 % % % 21% 20 20 19% 34 London org, non-London audience Non-London org, non-London audience 18% 17% 16% 16% % % % 13% 14 29 9% % 7% 8% % 6% 6% % 21 4% 4% % 20 % % 18 % 17 % % % 14 14 % % % % % 13 % 12 11 11 11

16-24 25-34 35-44 45-54 55-64 64 + 11 10 10 % % % % % % 7 7 7 7 % % 6 6 % 5 5 % 5 % 4 % % % 3 Audiences attending events in London When local audiences to organisations 2 2 2

were more similar, whether they came are compared to the population, they Learning Professional Social Entertainment Reflection Escapism Self- Other /Academic /relaxation actualisation from within the capital or further afield, are mostly representative, except that

than visitors to Non-London venues, who 35 44 year olds are over represented in

have a far more varied profile. London and 55 64 year olds outside of it. • ‘Learning’ was the most frequent main motivation type given by both London and non Many of the non London responses, In both areas, those of Mixed/multiple London audiences, by over a third of each; ‘self actualisation’ and ‘reflection and relaxation’ however, came from areas with below ethnic backgrounds are over represented, were also given by around one in ten of both. average proportions of BAME people but of Asian/Asian British backgrounds • However, non London audiences were more likely to be motivated by ‘entertainment’ rather within the local population. under represented. than ‘professional’ reasons. 17 Participating Organisations

Apple and Snakes Children’s Discovery Centre, East London HQ Crewe Lyceum Nottingham Lakeside Arts The Atkinson ARC Stockton Arts Centre Chorley Little Theatre HQ G Live Nottingham Playhouse The Bluecoat Arena Theatre Colchester Arts Centre HQ Southend Theatres Nuffield Theatre The Broadway Barking Artrix Colston Hall HQ Swindon Theatres Old Fire Station The Maltings Theatre & Cinema Artsadmin Commonword/Cultureword HQ White Rock Theatre Opera North The Met Artsreach Contact HQ Wycombe Swan Orange Tree Theatre The Print Room Assembly Hall theatre Courtyard Herefordshire Ilkley Literature Festival Oxford Playhouse The Reader Attenborough Centre for Creative Arts Creative Foundation Institute of Contemporary Arts Palace Theatre Redditch The Ropewalk Band on the Wall Curve Theatre Jacksons Lane Pegasus Theatre The Spring Barbican Theatre Plymouth Customs House Kenneth More Theatre Pitlochry Festival Theatre The Stables Bath Tourism Dancecity Kiln Theatre Poet in the City The Story Museum Battersea Arts Centre De La Warr Pavilion Kings Place Polka Theatre The Word Bernie Grant Arts Centre De Montfort Hall Kirklees Libraries Pound Arts Theatre by the Lake Birmingham Hippodrome Deda Lawrence Batley Theatre Quad Theatre Orchard Birmingham Literature Festival Delapre Abbey Ledbury Poetry Fest Queens Hall Arts Centre Theatre Royal Winchester Birmingham Rep Derby Live Leeds City Redbridge Drama Centre Three Choirs Blakehay Theatre Dulwich Picture Gallery Lincoln Arts Trust Rich Mix Ticketing Network East Midlands Bloomsbury Theatre Durham Book Festival Lincoln Performing Arts Centre Rose Theatre Kingston Tobacco Factory Theatres Bradford Literature Festival East Riding Theatre Lowry Roses Theatre Tewkesbury Town Hall Symphony Hall Bradford Theatres English Folk Dance and Song Society Luton Culture Roundhouse Trinity Laban Brewery Arts Centre English Pen Lyric Hammersmith Royal Court Liverpool Turner Sims Bridge Theatre London Exeter Northcott Theatre MAC Birmingham Royal Exchange Wales Millennium Centre Bridport Arts Centre Exeter Phoenix Manchester Literature Festival Royal Liverpool Philharmonic Warwick Arts Centre Brighton Dome and Festival Ltd Farnham Maltings Marlowe Theatre Saffron Hall Watermans Art Centre Bristol Old Vic And Theatre Royal Felixstowe Book Festival Mercury Theatre Sage Gateshead Watershed Trust Ltd Gala Durham Millfield Arts Centre Seven Stories Watford Palace Theatre Buxton Opera House Greenbelt Minack Theatre Snape Maltings Wiltshire Creative Cadogan Hall Guildhall & Stamford Arts Centre Modern Poetry in Translation Soho Theatre Wiltshire Music Cafe Oto Halifax Culture Hub National Centre for Writing South Hill Park Arts Centre Worthing Theatres Cambridge Junction Hampshire Cultural Trust National Theatre Spread the Word Writers Centre Norwich Cambridge Literary Festival Harrogate Festival New Theatre Royal St Georges Bristol Writing East Midlands Cambridge Live Trust Harrogate Theatre New Wolsey Theatre Stephen Joseph Theatre Writing on the Wall Cast Hertford Theatre New Writing North Story Museum Writing West Midlands Cheltenham Festivals Highlights North New Writing South Storyhouse York Theatre Royal Chelthenam Lit Fest HighTide Festival Theatre Newhampton Arts Taliesin Arts Centre Chethams School of Music HOME Northern Stage The Albany Chichester Festival Theatre HQ Beck Theatre Norwich Arts Centre The Apex 18 Context and Methodology

Background Audience Audience and Methodology Finder Spectrum The Audience Agency collaborates with the Audience Finder is a national audience Audience Spectrum segments the whole UK organisations in the Live Literature sector using development and data aggregation programme, population by their attitudes towards culture, Audience Finder to better understand audiences enabling cultural organisations to share, compare and by what they like to see and do. There are for Live Literature Events and support the sector to and apply insight. It is developed and managed 10 different Audience Spectrum profiles that you make the case for the impacts of its work. The data by The Audience Agency for and with the cultural can use to understand who lives in your local included in this report was collected throughout sector and is funded by the National Lottery area, what your current audiences are like, and the 2015-19 benchmark years from c.100,000 through Arts Council England. Audience Finder what you could do to build new ones. Audience visitors to 117 venues across England. provides tools for collecting and analysing data in Spectrum is the most accurate tool the sector has a standardised way which builds a clear picture of ever had to help target audiences and include a Comparisons made in the report are between the audiences locally and nationally. The results help wider public. Analysis and customer tagging with stated sample, England population data as per the organisations to find new audience opportunities Audience Spectrum work at both household and 2011 census and the benchmark year 2017- 2018 using a range of tools, features and support. These postcode levels, to help cultural organisations Audience Finder dataset of other artforms (Audience include user-friendly reporting dashboards, online understand audience profile and reach, enabling Finder benchmark), which represents 800+ mapping and insight tools and the opportunity to really accurate targeting of activity and organisations and 30% of households in England. work in collaborative, data-sharing groups. communications. Anecdotal comparisons have also been made with The Audience Agency's other sector specific reporting published from 2018 onwards. Get in touch to find out more

More about General Enquiries Literature Events audiences For general enquiries about Audience Finder and The Audience To discover more about research into Agency’s work as a Sector Support Organisation, contact: audiences for literature events, or if you [email protected] would like to contribute, contact: [email protected] London Office Manchester Office Policy Research Director, The Audience Agency Rich Mix Green Fish Resource Centre 35-47 Bethnal Green Rd, 46–50 Oldham Street, Northern Quarter Disclaimer London E1 6LA Manchester M4 1LE

The information contained within this report is not T 020 7407 4625 T 0161 234 2955 intended to be used as the sole basis for any business decision and is based upon data that is provided by third parties, the accuracy and/or completeness of which it would not be possible and/or economically Registered in England & Wales 8117915 viable for The Audience Agency to guarantee.

The Audience Agency’s services also involve models and techniques based on statistical analysis, probability and predictive behaviour. Accordingly, The Audience Agency is not able to accept any liability for any inaccuracy, incompleteness or other error in this report.

The Audience Agency is funded by the Arts Council, as a Sector Support Organisation, to lead on supporting cultural organisations to gain a deeper Design: timjukesdesign.com understanding of current and potential audiences.