Hark! the grant fundraisers sing,
“Please just give us core funding!”
Grants for projects can be fine, but
they don’t help the bottom line.
Flexible and multi-year
These things give us Christmas cheer
So, in 2026,
If you’re wondering what to fix
Hark! the grant fundraisers sing,
“Please just give us core funding!”

Stingy word counts are abhorred,
Prompts and space not in accord
And we’d really like the chance
To see the questions in advance
Online forms that you can save
Shouldn’t be that much to crave
And a portal that withstands
All those deadline day demands
Hark! the grant fundraisers storm
“Please just fix your bloomin’ form!”

Hail all those who give us feedback
Hail those who communicate
And those who, a deadline said
Don’t then close early instead
We can sense your deep frustrations
Born of increased applications
But, as all our targets rise,
Please don’t close to strategise!
Hark! the grant fundraisers cheer,
“Please fund us in the New Year!”

• Looking to up your fundraising game in the New Year?
• Keen to see what the grant process looks like from the funder’s perspective, and how that can help you improve your approach?
• Got a training budget that needs to be spent before year end?

New dates for Through A Funder’s Eyes now on sale!

For a lot of cultural organisations, their starting point for visitor or audience donations is a handful of donation boxes or buckets dotted around the place, with signs that say something inspiring, like “donations welcome” or “please donate”.

Don’t all rush for your coins at once…

If this sounds depressingly familiar, or if you’re keen to review individual giving in your organisation, here are nine steps I use to help organisations develop supporter journeys that actually get people to give:

Focus on a specific target audience – the most successful fundraising messaging doesn’t try to appeal to everybody. Having a specific audience in mind means you can target your message and your offer based on their specific relationship with your organisation – their shared likes, dislikes, values, motivations and experiences. For a lot of cultural organisations, your primary target audience will be the people who walk through your doors every day.

Understand their motivations – people give to different organisations for different reasons at different times. You need to understand what is most likely to motivate people to take action to support your organisation or project. In particular, you need to be clear whether your target audience has a transactional motivation (giving because they are going to get something back) or a philanthropic one (giving to solve a problem, or because they love what you do and want to help you do more of it). (A lot of arts fundraising incorrectly assumes that people will only give if they are going to get something in return, which leads to organisations rushing to set up a Friends or membership scheme.)

Craft an attractive proposition – I always encourage organisations to think of their ‘ask’ as an invitation. Look for the overlap between your funding need and your target audience’s motivation, and use this to find the right invitation. For example, are you inviting them to fight for something? To save something? To join something? To fix something? To be part of something? To believe in something? Remember – the offer or invitation doesn’t need to be a package of tangible benefits or rewards. Don’t force people with a philanthropic motivation to have a transactional relationship with you.

Katch their attention – at any given moment, approximately 99.999% of your target audience are thinking about something other than you and your fundraising message. You need to change that before you can compel them to act. Consider what are you going to say or do to hook their attention and draw them in. Part of this means being bold and unashamed about your need for support. Don’t hide your message in the dark, unexplored corners of your venue/website/newsletter.

Tell a story – having caught their attention you now need to compel them to take action. Stories are a brilliant tool for bringing the need for your work to life. Consider – who or what does the potential donor care about, and/or empathise with? What is their goal? What stands in the way of them achieving it? How can the donor help them overcome this barrier? What emotion do you need them to feel at the point you ask for a gift? Remember – while you might use complete case studies to show the difference your work can make, you also don’t want the potential donor to feel there is no room for them. Leave space for them to be a Helping Hero. After all, you are asking the donor to help write the story’s ending.

Remove barriers to giving – having compelled someone to take action you need to make it as easy as possible for them to give. What channels make it easy for them to give in that moment? How can you reduce the mental and physical effort required to make the gift?

Use SUPER thanking – make donors feel valued and respected by ensuring your thank yous are speedy, unique, passionate, engaging and repeated.

Make them see the impact – having given the donor the chance to help write the ending to your story, you now need to show them what’s changed as a result of their gift. Showing that their support made a difference can help pave the way to talking about their next gift.

Prepare to ask again – encouraging existing supporters to give again is far more efficient than having to constantly recruit new donors. When the time is right, present people with a new invitation that aligns your needs with the donor’s motivations and drivers. And one final tip – don’t fall in to the trap of assuming you need to wait a year before asking again. Memberships might work on the basis of annual renewal dates but philanthropic gifts don’t have to.

Now, if only there was a handy acronym to remember all that…

A big chunk of my summer has been spent writing fictional funding proposals for real charities based solely on the information on their website and in their annual accounts.

​Jealous? Don’t worry – I’m sure your summer was lovely, too.

​While you might be judging me for my slightly unorthodox hobby, it’s actually been a really interesting exercise because, in a lot of cases, I couldn’t do it. The basic information I needed to write a compelling proposal wasn’t available – at least not in a way that was easy to find or understand.

​And I think that’s a problem.

​Because while my choice of holiday activity might seem unusual, I’m not alone in doing this.

​Over the last few years we’ve seen a growing trend of funders taking a more proactive approach to their grant-making.

​Rather than inviting applications, they’re doing their own research. They’re seeking out charities and projects that align with their objectives and using that research to make decisions on who to invite to apply.

​In effect, they’re writing their own applications.

​And what happens if they can’t find the information they need on your website?

​They move on to someone else.

​So, here’s a test for you.

​Using just the information on your organisation’s website, see how easy it is to answer the following questions:

1. What does the organisation do? (You’d think this would be obvious, but I was surprised how hard it was to find a clear and concise answer to this question for a lot of organisations)
2. What need or societal problem does the organisation’s work address?
3. What impact does the organisation’s work have? What is their track-record of success?
4. What are the organisation’s current fundraising priorities?
5. What are the organisation’s future ambitions?

​Now compare the answers you’ve got from your website to the information you would normally include in a typical funding application. What’s missing? Which is more compelling?

​If you’ve struggled to answer any of the questions, consider where this information might naturally sit on your website, and who else might be interested in it. For example, perhaps you might want to consider having a number of 1-2 page template proposals for specific projects or initiatives that require grant support on the ‘Support Us’ or ‘Trusts and Foundations’ page of your website.

​In particular, I think it’s worth looking at Questions 4 and 5, as these were the ones I most frequently struggled to find answers to. While the ‘Future Plans’ section of the organisation’s Annual Accounts often included exciting plans for growth or new projects, these were rarely mentioned on the website.

​This is perhaps not surprising. Organisations might be pursuing a “private” or “silent” phase approach, and might not be ready to talk publicly about their plans. Others might feel vulnerable talking about projects that might not happen if the funding is not secured.

​However, if more funders are taking matters into their own hands, perhaps we need to be a bit more open to this vulnerability and to sharing the dreams and aspirations that can only become reality with their support.

​At the very least, we need to make sure it’s as easy as possible for potential funders to find the information they need to pique their interest.

Marina Jones, Deputy Development Director at English National Opera has just returned from a supporter trip, taking donors to the opera in San Francisco. On a night off during the trip she went to a drag show. In this guest blog she shares some reflections on what a drag show can teach fundraisers.

When the show starts the first thing the hosts of the show ask is ‘What’s the first rule of drag?’

The answer – “Tip your artists, dancers, servers and hosts”.

This ‘pre’-suasion or priming is setting the scene right from the start, and for the rest of the night – you will be asked to contribute.

Giving is expected, normal, encouraged and celebrated. The message is, if you care about the art form and want to enjoy it you need to be part of funding it and making it happen. Your support has a direct impact on the work you see on stage. Donors want to see the impact of their gift – seeing the impact live on stage makes it immediate.

Often in the arts we can shy away from articulating the ‘art for arts sake’ or for the pure enjoyment but a drag show connects immediately and says to you ‘if you want this it costs money and you need to give to make it happen’. Sometimes fundraisers also delay asking, missing out on the opportunity when people are feeling and experiencing all the emotions of connecting with our art forms.

At a drag show, there is no fear of asking and making it clear that funds are needed.

Now, a bit of background if it’s a while since you went to drag show or have yet to go … Tipping your artists involves putting dollar bills into whatever their fabulous outfits they are wearing.

If there are barriers to giving people won’t do it – it needs to be easy and friction free. If there are obstacles to making the gift it creates friction. Overcoming this friction uses too much brain power so we don’t do it. Your brain moves from the intuitive and automatic system one to system two and your rational brain kicks in and stops you completing the action.

So make it easy to give – anticipate the friction points and barriers that your donors have in that giving journey. Have they got what they need to donate?  For example, at the drag show you need a dollar bill to tip but you only have a $20. No problem – they have thought of that! The hosts come out and offer change – so you can change that $20 for twenty $1 dollar bills so you can easily make your contributions directly to the artists.

By thinking about what your donors need you are helping them give by making it easy for them.

An additional bonus of having lots of dollar bills is that it makes it easy to make repeat gifts to a preferred artist or many artists.

Each time you give a gift your brain gets a hit of the happy chemicals (dopamine, oxytocin, serotonin and endorphins). By making it easy and encouraging more gifts you are making people happier.

We are motivated to do what others are doing. Repeatedly seeing people make donations establishes giving as socially normal and encourages others to participate.

Every time a note is given the crowd cheers and celebrates the donation. Each contribution is celebrated. Celebrate that your donors are choosing to voluntarily give you to you to make the world better.

In an increasingly cashless society the lack of cash should not be a barrier to being able to contribute. So adapt – even drag queens use QR codes!

As well as giving directly to the artist or by QR code there is also a collection bucket. This means you can give whatever way makes you feel comfortable. Whether you choose to give publicly or more privately, all gifts are cheered!

Don’t shy away from asking again and again and reiterating your need for support. There are repeated asks throughout the show. The audience have been primed with the need for support and that they will be asked from the first moment the hosts walked out onto stage. Keep asking – you need the money.

You have an audience who care about your art form and what you are doing. It is part of their identity. Celebrate it, celebrate them and give them the opportunity to celebrate their identity.

Remember – people want to give!

Thanks to Marina for sharing these tips with us!

If you’ve got a blog, tips or suggestions you want to share with arts and culture fundraisers please get in touch with David by emailing David.Burgess@ApolloFundraising.com

“Donor You Loved” is a fundraising parody of Lewis Capaldi’s “Someone You Loved”, written and performed for Fundraising Everywhere Festival 2020.

Donor You Loved lyrics by David Burgess

Someone You Loved by Lewis Capaldi, Benjamin Kohn, Peter Kelleher, Thomas Barnes and Samuel Roman

Commissioned by SHARE Museums East as part of their Coronavirus Emergency Support package.

If you are a museum in the East of England we are operating a free fundraising advice helpline in partnership with SHARE Museums East. Please email David.Burgess@ApolloFundraising.com to find out more.

Commissioned by SHARE Museums East as part of their Coronavirus Emergency Support package.

If you are a museum in the East of England we are operating a free fundraising advice helpline in partnership with SHARE Museums East. Please email David.Burgess@ApolloFundraising.com to find out more.

This isn’t the first time Notre-Dame Cathedral has required major restoration. In the 1840s the Cathedral required extensive repair work to fix the significant damage caused during the French Revolution. It was at this time that many of Notre-Dame’s most famous features were added, including the gargoyles and the ill-fated spire.

According to Twitter user Michael Slavitch, it was also at this time that work began on preparing for future restorations.

The story goes that the team behind the 1840s restoration knew the mighty wooden roof beams would need to be replaced in the future. They also knew that replacing beams of that size would require around 1,300 mature oaks – or a forest the size of 15 football pitches, if you prefer.

It would have been easy for them to leave this problem to future generations – a challenge for their great, great, great, great grandchildren to solve. Instead, Slavitch says, they adopted the problem as their own.

The solution? To plant a forest of oak trees at Versailles, ear-marked specifically for the future replacement of Notre-Dame’s roof. This would mean that, when the time came to replace the beams, there would be enough trees of the perfect size to provide their successors with all the wood they would need.

Sadly, the story is almost certainly not true. However, it still got me thinking about the needs our organisations might have 100+ years from now, and what seeds we should be planting today to ensure our successors have the resources they need in the future.

In one of his tweets, Slavitch described the story as being an example of “The Long Now in action”.

“”Now” is never just a moment. The Long Now is the recognition that the precise moment you’re in grows out of the past and is a seed for the future. The longer your sense of Now, the more past and future it includes.”

Brian Eno, Co-founder of The Long Now Foundation

The Big Here and Long Now, January 15 01995

The phrase ‘The Long Now’ was originally coined by Brian Eno as a reminder to a world increasingly obsessed with instant gratification and short-termism that we still have a responsibility to the long-term future.

Many charities are working on a “Long Now” timeframe. They know it will be decades (and, for some, centuries) before they will achieve their charitable mission and solve the societal problems they have committed to solving.

For example, Breast Cancer Now have set a target of 2050 to achieve their goal of nobody dying from breast cancer.

For other charities, their mission will never end.

This means that a lot of charities fundraising today will still need to be fundraising in 30 years time. Some might still be fundraising 100 years from now.

Yet it is almost unheard of for fundraisers to be thinking about the “Long Now”, or to make plans for how they can support the work of their successors decades down the line.

Instead, fundraisers tend to operate in the “Short Now”. This is in no small part down to the focus on annual fundraising targets, Business Plans that often span no more than 5 years ahead, and a trend for fundraisers to spend (on average) just 4 years in senior posts.

Our work is shaped by what Eno calls “short-horizon perspectives”.

Our success is judged and rewarded against these short-term targets, meaning fundraisers prioritise activities most likely to provide near-instant gratification. There is little time – or incentive – to think about the impact their actions might have across a longer timeframe.

We have no idea what the world will look like for fundraising leaders 100 years from now, or even in 30 years time. But there are some things they are almost certainly going to need:

They are going to need a sustainable forest of prospects and supporters.

And they are going to need a sustainable forest of talented fundraisers.

Whether you like it or not (and whether you chose to act on it or not), the actions you take today have a direct impact on the long-term future of your organisation.

As a devastating fire tore through a building that has witnessed 850 years of history we were once again reminded that disasters don’t discriminate. No building, regardless of age or significance, is immune.

In museums, archives and historic buildings around the world I suspect the events of this week have prompted people to review insurance documents and salvage plans to ensure staff know exactly what to do should a disaster strike.

But how many fundraisers have been inspired to review (or write!) their own plans?

“When I was a boy and I would see scary things in the news, my mother would say to me, ‘Look for the helpers. You will always find people who are helping.” – Fred Rogers

In the face of a disaster it is human nature to want to help. Within 24 hours of the Notre Dame Cathedral catching fire, offers of donations have poured in from all over the world. These donations range from a few pounds to gifts of £100m+.

This isn’t the first time people have turned to philanthropy in the face of adversity. Following fires at Battersea Arts Centre and the Mackintosh building at Glasgow School of Art, individuals and organisations were quick to come forward and give their support.

As a fundraiser you are likely to have a big role to play should a disaster occur. Would you be prepared should the worst ever happen at your organisation?

You might think that it’s impossible to plan your response until you know what has actually happened. However, there are things you can prepare for, plan and decide now that will make your job easier in the event of an emergency.

Below, we have set out some of the things you should consider when writing an Emergency Fundraising Plan. For once, this is one fundraising plan we hope you will never have to follow. However, should the unthinkable happen, we hope that encouraging you to make a plan today will save you valuable time put you on the front foot should tragedy strike.

A common question in response to crisis appeals of this nature is “why do you need people to give? Won’t the insurance cover this?”. This is a fair question and one you need to be able to answer before launching an emergency appeal.

Rather than wait until you are in the middle of an emergency, use this time to get an idea of what would be covered by the insurance and what are the possible costs your organisation would have to cover.

• Will the payout from the insurance enable you to do everything you need to do, or will additional funds be required?
• Are there things your insurance doesn’t cover?
• What immediate costs will there be, such as emergency conservation and storage?
• What significant costs are likely to be incurred long before any insurance payout?

When it comes to launching an emergency appeal, the lesson from Battersea Arts Centre and Notre Dame is that you have to act quickly. If you spend too long dragging your heels other people will step in to fill the void. At the same time, you don’t want to launch the campaign too quickly and then have to backtrack when you find the “crisis” isn’t as bad as you first thought.

• Who is responsible for triggering the launch of your Emergency Fundraising Plan?
• What are the criteria for launching an appeal?
• Who will be responsible for ensuring the plan is delivered as agreed?

Within 24 hours of the Notre Dame fire starting over 50 crowdfunding pages had been set up on GoFundMe alone. While most will be genuine appeals set up by people trying to help, there is always the risk of fraudsters using this opportunity to take advantage of peoples’ desire to help.

In an ideal world you want as many people as possible to donate to you directly, rather than through third-party campaigns. This is because this enables you to control the messaging and you can be sure that donations go to the right place (without any risk of others withholding donations or imposing unwanted restrictions). It also means you can build the relationship with supporters directly, thanking them for their support and keeping them engaged as you work to repair the damage.

In planning your Emergency Fundraising Plan you need to consider:

• Who will set up the campaign page?
• How will you ensure the donation page goes live as quickly as possible?
• Are there things you can put in place now to save you time in future? For example, can you create a template for the donation page?
• Who will ensure the donation page is on the homepage of your website and shared via social media?
• How will you ensure the donation page link is promoted as the official place for people looking to make donations?

When things go wrong people can become desperate for updates on the situation. If disaster strikes at your organisation, the people who care most about you (including your supporters) will want to know what is happening.

As a fundraiser you need to keep them updated on what is happening and what you are doing in response. To help you do this you need to consider:

As we’ve mentioned above, you are going to want to keep your supporters updated. However, those working to combat the emergency are unlikely to want to stop work to give you updates.

Most museums, archives and historic buildings will have a salvage and recovery plan which sets out exactly what to do in response to different types of emergency. Familiarising yourself with these plans (and knowing how to access them in an emergency) will enable you to keep supporters updated without interfering with the salvage and recovery efforts.

The plans will also give you an idea of any initial costs that might be incurred, helping you to answer Question 1.

One of the great successes of the Battersea Arts Centre appeal was their ability to build partnerships with local companies who could both offer support and help them to promote the appeal. One such partnership was with South West Trains, who ensured that messages were played on their trains as they went past the scene of the fire. This timely message meant that people who could see firsthand the damage caused by the fire were also given the opportunity to help do something about it.

• What partnerships could offer practical help for dealing with the emergency? (For example, do you need somewhere nearby to store salvaged items?)
• What partnerships could help you to promote the appeal to people who would care and be most likely to donate?
• Who will be responsible for seeking these partnerships?

First published on UK Fundraising on 10th January 2019. Updated 24th February 2026

How has your week been?

No, seriously. How would you answer that question?

And, more importantly, how quickly did it take you to come up with an answer?

30 minutes? An hour? I mean, going back over the last 7 days/168 hours/10,080 minutes of your life, analysing the good bits and bad bits and then weighing them up to come to a balanced conclusion must have taken you some time?

But, of course, you didn’t do that, did you? You came to an answer nearly immediately.

So, what has this unremarkable observation got to do with fundraising? And, in particular, how could it help us increase the impact of our Thank Yous?

When it comes to remembering and assessing our experiences it’s safe to say humans aren’t particularly rigorous in their evaluation methodology. Take this example, shared by Daniel Kahneman in “The Riddle of Experience versus Memory”:

In the podcast, Kahneman recalls a conversation with one of his students who had been listening to a recording of a piece of classical music. At the end of the recording there was “a dreadful screeching noise”. The student wasn’t happy, passionately telling Kahneman “it ruined the whole experience”.

Kahneman points out that this statement can’t be accurate. The screech wasn’t until the end of the recording. By the time the unpleasant noise occurred the student had already enjoyed an incredible performance. However, when it came to recalling his experience the quality of the performance counted for nothing. The student’s perception of the whole experience was solely defined by one negative moment.

While this might seem irrational, Kahneman attributes this to the fact that, when it comes to remembering and evaluating experiences, we have “Two Selves”.

The first is the Experiencing Self. This is the self that lives in the present. It perceives each of the detailed individual moments that make up the whole experience. The student’s Experiencing Self listened to every note of the recording and could, if encouraged, recall that detail.

The second is the Remembering Self. This is the self we use to summarise all of those individual moments, converting our detailed experience into a simple story. This enables us to make an immediate judgement when we are asked to reflect on past events (such as when someone pops up in our inbox asking how our week has been).

Entrusting this task to your Remembering Self is a lot quicker and easier for your brain than relying on your Experiencing Self to go back and assess every single moment before you can reach an answer. In Kahneman’s story it is the student’s Remembering Self that has created the damning review of the recording.

The Two Selves are not equal partners. As Kahneman says, when it comes to evaluating past experiences, the Remembering Self is the one that makes decisions.

And, thanks to a number of mental shortcuts, it does so at great speed.

One of the shortcuts our Remembering Self relies on is considering how we felt at two key points:

• The point in the experience when we had the strongest feeling (the peak). (This could be a positive, pleasurable feeling, or a negative, painful one.)
• The end of the experience

The Remembering Self considers the average of our feelings at these two moments. In the case of the student, the screech was both the end point and the peak – the student experienced a strong feeling of anger and disgust that outweighed any delight he had felt during the performance. This explains why this one negative moment was so instrumental in defining his memory of the experience.

I’m glad you asked. You see, I think this phenomenon helps to explain one of fundraising’s great mysteries – why so many donors complain about not being thanked when the vast majority of fundraisers say they religiously thank every donor for every gift.

When fundraisers create thanking processes and supporter/donor journeys they do so with the Experiencing Self in mind. So, they might come up with a process that includes:

• Sending an automated receipt following the donation
• Sending a follow-up letter, thanking the supporter for the donation
• Subscribing the supporter to a regular newsletter
• Segregating future mailings so they include a line acknowledging their previous support
• Sending a physical or digital copy of the annual report at the end of the year

There is nothing wrong with any of these approaches – they all have a role to play. However, this entire approach is based on the idea that each interaction has a cumulative effect and that the donor’s experience and satisfaction will increase with each new touchpoint. As we’ve seen, that would be true if the Experiencing Self was in charge.

But it’s not.

And, with no pleasure-boosting peak or end to engage the more influential Remembering Self, the experience becomes forgettable (or, worse, defined by some other pain point within the donation journey).

As we’ve seen above, if we want the Remembering Self to take note, we need to plan for the supporter’s experience to have a positive peak and an excellent end. The good news is that your Thank You has the potential to fulfil both of these roles.

As fundraisers, we don’t tend to think of donations as having endings. We talk about our relationships with supporters as being ongoing and long-term. However, the reality is that many supporters (especially first-time donors and impulse givers) will view the experience of making a donation as being a self-contained action. For your supporter’s Remembering Self at least, the Thank You marks the end point. So, if we can provide the supporter with a positive peak at this point it will have a disproportionate impact on how they remember their experience of making a gift.

So, what makes a positive peak?

When it comes to peaks we can think of the Remembering Self as being a bit like a car dashboard camera. When things are going normally, or as expected, the Remembering Self sits inactive in the background. It only starts to record when something significant or unexpected happens.

All of the touchpoints in the example above can be described as normal – they follow the script for what someone might expect when they make a donation. They probably expect to receive confirmation their donation has been completed. They probably expect to receive a basic thank you. They probably expect to receive further marketing from the charity. On the face of it there is nothing unexpected there for the supporter. So there is no need for the Remembering Self to get involved.

If we want our Thank Yous to be remembered we need to add something unexpected to the mix.

Something out of the ordinary.

Something worth remembering.

In their book The Power of Moments, Chip and Dan Heath give some great tips for creating memorable moments, including these suggestions for creating positive peaks:

• Boost sensory appeal – create an element of theatre that maximises the impact on the senses and emotions.
• Raise the stakes – “up the ante” for supporters. For example, create a sense of pressure through competitions, games or public commitment
• Break the script – “defy [your supporter’s] expectation of how an experience will unfold”

When it comes to fundraising, peaks that strengthen the connection between the supporter and the beneficiaries, charity and/or fundraiser can be particularly effective. For example, the actors in a theatre company I worked with years ago had a tradition of wearing stripy socks during performances. They realised that sending stripy socks to donors was a powerful way of signalling that those supporters were part of the family. This simple act of initiation breaks the script and boosts the sensory appeal in a way that is relevant for that organisation.

One particularly memorable Thank You email from MAG (Mines Advisory Group) included three recipes that had been shared from MAG team members working around the world. As well as breaking the script, this simple act helped to create a bond between the supporter, the MAG team and the beneficiaries. It humanised people on each side of the relationship and gave an insight to their life. It also tapped into that powerful ritual that occurs when we share a meal together.

​Importantly, creating a positive peak doesn’t have to mean spending a lot of money. The simplest of touches can elevate a moment to become a memorable peak. More important than having a huge budget is having a fundraiser with the imagination and the drive to break the mould. Someone prepared to look beyond the status quo, to take responsibility for creating peaks for their supporters and to fight internally for the importance of defying supporters’ expectations.

So, what unforgettable peaks will you conjure up to elevate your donors’ experiences?

Seen some great experiences of unforgettable peaks? I’d love to hear about them! Get in touch to share some of your most memorable examples.