It is vital to find a creative solution

This is perhaps a surprising figure. It has surprised Creative Scotland. The figure is about 98 more people than many thought would apply. This vital and very public job, heading an organisation that was at the centre of the storms over arts policy, arts funding, arts politics, even arts philosophy last year, was regarded for months as that old theatrical prop: a poisoned chalice. Who, after all, would want to lead a body that, in the words of Janice Galloway, has "something wrong at the heart". Who, it was asked, would want to lead an organisation that generated such enmity amongst its own constituents, its own prospective colleagues, peers and clients in 12 disastrous months last year? It was, in the words of esteemed poet Don Paterson, a dysfunctional ant heap.

But that was then, and this is now. After attending two of the open sessions, being held by the body to try to find its way forward, it does seem that much of the enmity towards the organisation has drained away, even if temporarily. In Dundee and Edinburgh, there was, yes, still concern, anxiety, worry and, perhaps, a little bit of distrust. But there were more wry smiles than expressions of anger. More solutions suggested than mistakes belaboured and picked over. More, as the playwright David Greig said, talk of "routes ahead" than laments about "root causes". The events in Greenock and Inverness, I understand, felt equally constructive.

Perhaps it proves that time, indeed, is a great healer. The body has begun to reform itself, unveiling new funding schemes this week. And, to be blunt, perhaps with the controversial figures of Andrew Dixon and Venu Dhupa gone, much of the poison of last year has been drawn from the situation. Maybe, too, the number of applications shows that many people realised that beyond the pain and strife of last year, this post, leading the agency that can distribute around £80m in Government and Lottery funds a year, might actually be a good job. Scotland, after all, is good at this: its arts, its culture are vibrant, strong, eclectic and constantly evolving and revolving, a culture with not only deep roots but healthy limbs and constant new growth. Being in charge of funding its myriad artists, film makers, writers, poets, dancers, musicians, traditional crafts and music is not only a valuable job, an important job, but, you would think, a rewarding and enviable occupation. One potential candidate even told me it's "one of the world's best jobs".

But it is a tall order. The body has such a wide remit – from movies to craft, from theatre to computer games, from the visual arts to traditional music – one does wonder if anyone has the knowledge to understand and appreciate each of these sectors equally. One can look at the official application pack, and wonder who could fulfil all its criteria. They should have "social and political nous", according to the pack as well as an "integrity and independence of mind". Fair enough.

The successful candidate should have experience of major change in a large organisation. One would imagine, given the status of Creative Scotland, that would be in a public body. They should also have a "wide understanding of social, political, creative and cultural Scotland". This suggests someone who already lives north of the Border, rather than someone who will learn about Scotland on the job. The right candidate will also have experience of "operating internationally", which may count against some good candidates. They should also, perhaps more onerously, "inspire a culture of continuous improvement", if that, indeed, is possible anywhere. There are people who fit these criteria, and have they applied for this £110,000 a year post? We shall see. Creative Scotland knows it has to get this appointment right. There will be no third chances.