Author Archives: Stanley

Volunteers

A volunteer’s time and services are the same as money. Nonprofits should look for volunteers as much as they look for grants and donations.

It’s hard managing volunteers who can walk away at any time for no reason. A lot of nonprofit people do not talk to the volunteers and never know why they are there. Like the grant writer, I think one of the critical positions in a nonprofit is the volunteer coordinator.

The coordinator should know the nonprofit’s needs, know where to find volunteers, and be able to ask people to volunteer. When the volunteers show up, the coordinator should remember what they provided and what they liked by talking to them.

The executive director and staff should meet and greet the volunteers when they are volunteering. And, more than once. It’s important to know what will keep the volunteers from running away. Such as not to demand more services than they want to give. Nonprofit managers and staff don’t know what too much is unless they talk to the volunteers.

Make volunteering a benefit to the volunteer. Give them something in return for their services. Sometimes this is easy when a person needs to do community service, their company gives benefits for volunteering, or a person needs to update their resume. Other than these reasons, really, why do people volunteer?

I ask myself that all the time. Like many people, I don’t know the answer. Yes, people say they want to give back to the community or help the nonprofit that helped them. But, it’s not that easy. Nonprofit managers and staff should not bother looking for reasons. Just be thankful for the volunteer and say hello.

Can creative writing be taught?

Some people in the writing industry say no. They believe you are born with the ability to write creatively. If a person does not have this birthright, they shouldn’t try writing that novel. I think this is ridiculous, highly snobbish, and arrogant.

Creative writing can be taught and at any age. If a person has the motivation and desire, they can learn to write creatively and maybe even get published. Learning to write creatively requires two steps.

First is to learn how to think creatively. Such as imagining a traffic stop on the way to work and an elephant walks over to ask for a ride. Creative thinking is about imagining something different within something routine. It could also be about thinking a “what if” situation such as what if extraterrestrials took over the military. Sometimes creativity can come by paying attention to people in a store and thinking about what kind of life they could be living.

At this point, some people are saying “easier said than done”, but they are listening to the “no” people in the writing industry. A person can learn to think creatively through practice and guidance. Most writing teachers and books do not explain this process or consider the impact of skipping this step.

A person can learn the first step while starting on the second, which is learning to write what is created so it can be shared with others.

In the beginning, it is probably best to write it all out. It may not make much sense, but practice at writing and learning the writing rules will eventually make the creativity readable. At least the writing teachers and books can help with this step.

I think not teaching how to be creative is why so many writers-to-be struggle with their writing. Teachers and authors assume the person already knows how to be creative.

So, self-teach yourself. Maybe keep a journal/diary. Tell your dog or cat or cow what you’re thinking. How about right now getting a pen and paper?

Build the Project’s Funding First

Before I write a grant application, I build a spreadsheet with all of the project’s funding information (revenue and allocation or expense). I use the template pictured above. Once I know exactly what I’m funding, the writing goes a lot easier.

This template is only for a project, a subset of the organization’s mission. A foundation usually requests the nonprofit’s total budget as a separate attachment. Also, many foundations want to see operating funds separate from a project, not together. A grant application should be specific.

(Hint: many foundations fund a specific project rather than the more general operating funding.)

The critical part of building a project’s funding is the percentages. Foundations want to be a partner in a project, which generally means less than a fifty percent investment. What the percentage is depends on the foundation. I try not to go above thirty five percent in any category. But, this is only my guideline based on my opinion, which is not necessarily a good opinion or a valid guideline.

In any case, a nonprofit should be flexible when building a funding plan. Salaries can be included as long as they are for the project and the foundation allows salaries funding. If not, then I list salaries in Other Cash Support. Either way, I never have the foundation pay for the employee benefits. These costs give the impression of operating costs.

Besides the percentages, the other important part is the categories. The template has standard categories meant to be general, while being somewhat specific. Making things too specific can create confusion. A lot of foundations are okay with these categories.

Some foundations have their own budget template. I can complete their template with all the information from my spreadsheet. Plus, I have done the analysis that they may do to figure out how much of the project they are funding.

Writing a grant request is not easy. Getting the costs settled makes the writing less complicated. After all, it is mostly about the money.

Stories without a Published Home (showing half published, half not)

Sometimes after sending a story out for publishing and getting a lot of rejections, I decide enough is enough. For my sake and the story.

I feel guilty when I stop sending out a short story. It is a strange ending to what I created. No one will ever read it except me.

I keep my stories printed out and in manila folders. Inside on the left are magazines I sent the story to along with date and when it was rejected (or when I never heard back from the magazine).

One folder has red wine stains, another splotches of strong coffee, and still another drips from black tea. Some are peppered with food stains while others are not so anointed (it didn’t take as long to write them).

When I run out of room on the inside cover, I write the rejections on the back. At some point, I stop and file the folder and story away before I run out of room on the back and there’s nowhere else to go.

These stories I file away don’t sit far from the stories that were accepted. Maybe I’ll bring the old stories out and try again one day.

Special Grant Requests

As I posted before, nonprofits should always keep a conversation going with people who might support their mission. This year, I was involved in grant requests from two foundations. Both foundations solicited requests outside their application period and focus areas.

The first (foundation A) had a new director who wanted to expand the foundation’s area of interest. Maybe there were other internal motivations. The other (foundation B) received an unexpected endowment.

News for both grant requests came mostly through word-of-mouth. Foundation A representatives came to the area and attended meetings where they spread the word. Foundation B already had a grant request process, which had closed and decisions made. They notified those nonprofits who had applied.

Both foundations posted information on their websites listing what they fund, what they won’t, and guidelines. The normal stuff. However, this information was not complete and not really that clear.

I called foundation A and the administrator easily explained what they wanted in the application. Such as what to mail and who to address on the application. I also got some background information as to why this foundation was soliciting grant requests, which helped in the grant write up.

Foundation B had a special link on their submission webpage to get the application. However, the special focus areas meant several nonprofits would not qualify. Someone else made the call to the foundation and found out that everyone who applied under the regular application process was eligible, regardless of the special focus areas.

In both cases, everyone who found out about the special grant requests were eligible for money. Many nonprofits in the area did not apply either because they had not heard about these grant requests or never contacted the foundations to clarify what was required for the submission.

Lessons learned.

Leo Tolstoy’s “Art is an Infection”

Brenda Ueland wrote about Tolstoy in her 1938 book If You Want to Write. Tolstoy believed, “the artist has a feeling and he expresses it and at once this feeling infects other people and they have it, too.”

Ms. Ueland explained that when an artist exhibits feelings “honestly and courageously” onto a canvas, through music, in writing, or some other venue and means, the artist infects the creation with passion. Through this, the artist brings emotion to the viewer, listener, or reader who experiences it within themselves.

Is this what an artist should strive for? An infection of their feelings in their work? Or, should they just produce something that makes them money?

Of course, it is not possible for everyone to be infected by an artist’s work. Also, artists do not always succeed infecting their work with passion and honesty. Some don’t even try and see their work as a product to be sold.

This is all right because some buyers only want a distraction in their life or a decoration to be ignored. Besides, making something honestly and courageously takes time. An artist can make more products (and money) if they don’t spend a lot of effort in their creation.

It’s too bad because Ms. Ueland thought that, when an artist tells what they truly feel, the infection could become universal. “Everybody understands it and at once.” I think today we call that going viral.

I think an artist should strive, at least one time in their life, to create an art they will always love. Something they want the world to witness, an infection of their honesty and courageousness, passion and emotion. Even if it may not become a classic at first.

Branding

Every grant submission is an opportunity for a nonprofit to brand themselves. This means anyone seeing the logo (yes, you should have one) or unique acronym (you should have this, too) will know who the nonprofit is and what they do.

Businesses use branding to attract customers. Branding in nonprofits let foundations and donors know immediately what they are funding. Seeing the logo and acronym is an eye catcher for people to remember the nonprofit’s purpose. Of course, branding is not easy.

Coming up with a logo and acronym is difficult (be sure no one else has it). But, it’s not impossible (yeah, easy to state). Despite the difficulty, nonprofits should create a branding before writing grants or asking for donations.

The branding should be why the nonprofit is helping people. Those working and volunteering at the nonprofit should take the lead in designing the brand and not hand it over to strangers who may charge a large fee. In the end, use a graphic business who may charge little in exchange for advertisement or other benefit. Keep a branding simple.

An example of a branding could be some use of the letters in a nonprofit’s name (a.k.a. acronym). Also, use of a unique font (minimize color choices). Definitely make everything legible. Also, a logo and acronym can be the same thing.

No one knows a nonprofit more than the people who are there every day. They should help in creating the logo and acronym because they are the ones who first must accept it.

Branding helps a lot in grant writing, particularly in lengthy requests where the brand can be placed everywhere for emphasis. This is what writing a grant is about – having as many people as possible know who the nonprofit is by a glance.

Starting Off and Writing to the End

People in the writing business talk about how important it is to grab a reader’s attention at the start of a story. Yet, the beginning, middle, and end all make the story. The catchy beginning is only remembered by what followed.

As an example, Moby-Dick’s opening line, “Call me Ishmael,” is considered a memorable beginning. However, if a reader never heard of the book, the line is meaningless. It is famous only because of what followed.

After reading a story, I have no clue what the first line said. I remember more the middle and end rather than the beginning. I think a story can recover from an okay beginning, but not a so-so middle and ending.

Catchy beginnings are pushed more in the commercial industry who largely do not care if the story falls apart soon after it starts. The reader has already been caught in a purchase. As for readers, some give up on a book if the beginning drags on. They worry too soon that it may foretell the rest of the story.

In a book about writing I read that, if a writer thinks a device of words is necessary to insure the story is read, the story is better not to be written at all.

I write the beginning of a story without thinking about a catchy anything. I think the start of a story should be with the expectation that a buildup with an end is coming. The start should be done in a natural way with the development of the story.

Not long after I write the beginning of a story, I write the ending. It gives me something to aim for, even if I probably change the ending when I get there. Probably the beginning, too.

I just make sure the beginning and end connect with the middle, which is enough for a story.

Begin to write the grant request

A grant request should be personal, unemotional, and informative. The request should read as if the grant writer faced foundation people who already heard others ask for money. The writer should make something of the request that is unique to the nonprofit.

As the saying goes: easier said than done. Yet, it is easier if the opening documents set the correct tone. All grant requests start one of two ways. A letter of inquiry (LOI) or a cover letter. An LOI asks for the application with nothing following. The cover letter introduces the application’s documents.

While the application is important, the LOI or cover letter set the tone for everything else that follows. The LOI and cover letter introduces the nonprofit, the project to be funded, and the purpose for the submission.

The LOI must give more information to get the application by stating the nonprofit’s goals, objectives, and how they match with the foundation. There is not enough room for details. Summarize the summaries. The writer will edge toward stating the facts, but add a little sincerity.

A cover letter is like a handshake. All of the project information is in the following documents. Such as details about the project, a budget, and confidence the foundation’s money will be well spent. The cover letter is a welcoming and an opportunity to give details about the project’s successes that is not found in the application.

Some people may say a grant application is a matter of filling out forms. Of course, it is not that simple. It is a matter of understanding the reason a foundation would fund a project and explain this with unemotional sincerity. Spend some time on the LOI or cover letter and this could help lead to a better application.

It takes time to create

In my attempt at being a published short story writer, I try to spend more time being creative and less time finding a home for my stories. Finding a magazine to send my short stories to can take a lot of time.

Over the years, I used sources such as Duotrope (costs to subscribe, but worth it), Poets and Writers Literary Magazines database (free, but please subscribe to their great magazine), and the annual Writers Digest Novel & Short Story Writer’s Market. Using these sources saves time from randomly searching the internet.

I also use a spreadsheet I created with over 250 magazines who publish stories similar to what I write (see the blog post “Keeping Track of Things). The spreadsheet doubles as a way to keep track of the stories I send out.

After I narrow down my search to a few magazines, I go to the magazine’s website for more information.

I read what the magazine has published, the editors’ biographies, their mission statements, and submission requirements. One of the most important items is meeting the word count. I stay at least 500 words below their maximum number of words because shorter is generally better.

When I finally pick a magazine, I follow the submission process exactly. I don’t want my story rejected because of a technicality. And, the most important part of the process is spelling the editor’s name correctly.

What this is all about is the expense of time. Writing and getting published are about many things, including writing a good story. Having enough time to do this creativity and finding someone to like what is written is important.