A Poundland monstrosity.

That was how my partner first described the Christmas light display I’d secretly hung up on the front of our house.

And, though I didn’t want to admit it, she was right. The bright neon star, reindeer and icicles that were now illuminating half our street suddenly looked a lot more garish than they had in the shop.

No wonder there were still so many left on the shelf…

When I’d bought them I was just thinking about how much our kids would love seeing them, and had hoped that they might spread some festive cheer to our part of the street. But, as I stood there staring at the blinding mass of white and purple LEDs, I was starting to worry that I’d made a huge mistake.

The next day I bumped into our neighbour. I was about to apologise for bringing down the neighbourhood when he called out:

“Love the lights! I’m not normally a fan of Christmas lights but they look good. In fact, our daughter keeps asking if we can have some, too”.

Half an hour later and I’m up a step ladder hanging up a matching set of icicle lights on next-door’s house.

And that evening, as my youngest shouted out with excitement at the sight of Rudolph and his bright red nose beaming down from our bedroom window, my worries (and heart) melted.

So, why am I telling you this, and how am I going to bring it back to fundraising?

Our Christmas lights aren’t going to win any prizes for style, taste or design. However, they’ve achieved what they were supposed to – putting smiles on peoples’ faces.

When we’re creating fundraising materials (e.g brochures, posters, emails, websites, proposals etc) we often make design choices based on what we think looks good, rather than on what is going to help us achieve our objectives.

But there are times when the pursuit of “beauty” ends up doing more harm than good, holding us back from what the brochure/poster/email/website/proposal is trying to achieve.

For example:

• Block justified text looks nice on the page, but the uneven spacing between words makes it harder to read, while the straight edges on both sides of the text increase the chances of people skipping lines. This is particularly true when people are skim-reading. Whether we like it or not, our audience are most likely to be skimmers and scanners so by using the “uglier” left-justified text we can make it easier for them to read.
• Having buttons, links and headings all in our organisation’s decreed colour looks visually pleasing (and will keep you in the good books of your organisation’s ‘Brand Enforcer’). However, a number of tests have shown that using a highly-contrasting colour for your Call to Action will result in it getting noticed more, and receiving more clicks.
• It might look nicer to finish each page with a finished sentence (or, even more “beautiful”, a finished paragraph). However, as fundraising copywriter extraordinaire Lisa Sargent says, “A completed sentence is a stop sign for your brain”. Having sentences that run over the page forces the reader to turn over, increasing the chances they’ll keep reading.
• In a similar vein, getting everything on to one page might make it look tidier, but if that means you have to shrink the font, minimise the margins and eradicate any white space on the page you’re going to destroy the accessibility and readability. And it doesn’t matter how compelling your message is if people can’t read it.

Remember – “aesthetic beauty” is not a meaningful KPI in fundraising.

Your design choices need to be driven by what you’re trying to achieve.

What makes your target audience more likely to take notice?

What makes them more likely to engage with the key parts of your message?

And what makes them more likely to take action?

So, next time someone tries to get you to change something because their way will “look nicer”, consider whether the change could end up doing more harm than good. And, if you don’t know, look for a way to test it.

That way, you can make ‘effective’, rather ‘aesthetic’ your (bright neon) guiding star.

I don’t think I’ve ever looked more smug than I did last Friday.

After a day going back and forth trying to find the right name for one of our new consultancy services I’d finally hit the jackpot.

It had the lot. A smart analogy. Some clever word play. A witty twist on two well-known acronyms.

Staring at it on the page stirred feelings of pride I haven’t felt since the birth of my kids.

There was just one problem.

When I showed it to a group of fundraisers, not one of them had the foggiest idea what the name alluded to or what the service was we were actually offering.

That smug look vanished as I realised what had happened.

I’d been so distracted by “clever” I’d taken my eye off the single most important thing I needed to achieve – to clearly show my target audience why this service was right for them.

I’d fallen victim to the Curse of Clever.

The Curse of Clever is where we become so wedded to an idea because of its novelty or cleverness that we will move heaven and earth to make the idea work, even if it means sacrificing clarity and functionality.

(If you’ve ever have been at a conference where someone has started talking about “The 32 Ps of Corporate Partnerships”, where each P has got more and more tenuous as the speaker desperately tried to find a synonym for what they were actually trying to say, you’ll know what I mean.)

“Clever” ideas can come from a range of places. Linguistic tricks (such as puns, wordplay, alliteration and acronyms that spell a word), quirky design choices, linking to current events or notable people and events from our organisation’s past – all can turn into cursed ideas that distract us from our primary aim if we hold them too tightly.

And this curse doesn’t just affect our copywriting.

“Clever” ideas can influence how we structure appeals, the names we give to different membership schemes and even the amounts we ask for (looking at you, anniversary campaigns that use multiples of the year as the suggested donation amounts, despite them having no connection to the amount you need or your donor’s giving habits).

Don’t get me wrong, there is a place for these techniques and devices. Done well, they can be effective ways of helping you engage and inspire your target audience. But, to do so, they need to remain the humble servant to your message. As soon as your “clever idea” starts calling the shots you’re in trouble.

Because here’s the thing – clever is only clever if it works.

Your goal is to get your message across to your target audience in a way that catches their attention, inspires them and motivates them to act.

So, if you feel yourself becoming the hostage of a “clever idea”, stop and test it against the following questions:

• Does this idea help or hinder us to catch the attention of our target audience?
• Does it help or hinder us to build trust, rapport and connection with our target audience?
• Does it help or hinder us to achieve the desired emotional response in our target audience?
• Does it help or hinder our target audience’s understanding of why our work is needed?
• Does it help or hinder our target audience’s understanding of what we’re asking them to do and why this is right for them?
• Does it help or hinder our target audience to give?
• Does it help or hinder our target audience to remember our message? (NB Acronyms don’t automatically make things easier to remember. They only become more memorable after repeat use. To begin with they’re usually harder to understand as your audience struggles to remember what each letter stands for).

If the idea is helping more than hindering, proceed (but on the understanding you will jettison the idea if it stops being helpful, or if a better one comes along).

But if the idea is holding you back, perhaps it’s not such a clever idea after all.

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

Apollo Fundraising was launched on 1st July 2016. But it turns out we share our birthday with a whole host of unlikely fundraising experts. As a little birthday present* from us to you, here are some fundraising tips we can learn from people born on 1st July.

*Don’t worry, we kept the receipt…

The telephone can be an under-used tool for arts fundraisers. However, organisations that have fallen back in love with the telephone during the coronavirus lockdown have seen fantastic results. People are looking for opportunities to (meaningfully) connect with people outside of their households and social bubbles. At this time, your voice across the line can give your supporters a very pleasant sensation. Use it to find out how your supporters are coping, keep them up to date with what your organisation is doing and, if the time is right, even to ask for donations.

You can hear Dorcas Morgan (Development Director at Park Theatre) talk about the success of their telephone fundraising campaign as part of our Covid, Culture and Cash series of podcasts.

Sometimes the biggest barrier between us and fundraising success is the nagging voice in the back of our head that tells us we can’t do it. The ask we put off making. The supporter we put off contacting. The new idea we put off launching. Those negative thoughts can quickly turn to self-fulfilling prophecy. Some of the ways you can silence those negative voices include:

• Practicing – seems obvious, but taking time to rehearse an ask, pitch or conversation in advance can help build confidence.
• Remember the theory – a lot of what we do becomes second-nature. However, consciously reminding ourselves of the theory behind our actions can boost confidence.
• Record previous successes – keeping a mental record of when things have gone well gives us a more positive message to drown out the negative voice.

I talk more about negative voices and self-fulfilling prophecies during my guest appearance on Howard Lake’s Fundraising Tune of the Day here – https://www.youtube.com/watch?v=IlMMQnWI4h4&list=PLwAHrkp_kfsSx2qUPV2n1V_yKHONfe2wl&index=20&t=0s

I’m sure fundraisers (and particularly trust fundraisers) don’t deliberately set out to confuse people but often that can be the outcome. In a bid to make our work sound “unique” and “innovative” we can end up making it impossible for potential supporters to understand what it is we actually do.

One reason for this is The Curse of Knowledge. Fundraisers know their organisation’s work inside out – they see it on a daily basis. When it comes to writing an application they know exactly what the work looks, sounds and feels like. And they forget what it’s like not to know that. However, the people reading our applications don’t have that experience. As fundraisers, it’s our job to give them that complete mental picture.

You can find out more about the Curse of Knowledge here – http://apollofundraising.com/blog/three-fundraising-curses-part-one-the-curse-of-knowledge/

Daniel Ricciardo is a rich source of quotes. This particular gem was given during a post-race interview after he’d made a daring move to overtake that most drivers wouldn’t have considered.

The point is, in our bid for perfection we can sometimes let opportunities pass us by. Of course, we want to do the best job we can. But at some point we’ve got to “Just pull the trigger. Trust the car, trust the brakes and go”. (Another Ricciardo quote).

Building relationships with supporters and prospects takes time, effort and money. No organisation has a limitless supply of these resources. As a result, you can’t do everything. This means that fundraisers need to prioritise. And, with these resources likely to be especially scarce in the coming months there is even more pressure to make sure you are using your time and effort on the funding streams and relationships that are likely to give you the best results.

That might mean dropping the gala dinner that your chair loves but that takes a year to organise and raise no money. Or it might mean not investing as much in corporate fundraising if you haven’t got an obvious proposition or prospect pool. It might feel like leaving money on the table but spreading yourself too thin can be even more costly.

Think about the size of the prize before you start. If it looks like it’s going to be underwhelming, don’t work it!

We talk a lot about the importance of building relationships with supporters. However, not all supporters are looking for the same kind of relationship. And some don’t want any relationship at all.

We can invest a lot of time and effort in trying to get the wrong people to love us. This normally happens when someone has money but when they lack the motivation and connection with our cause. Researching and qualifying prospects is an important step to avoid you chasing after a heart that already belongs to someone else.

Don’t necessarily assume that the biggest cheques mean the most love.

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 Flight of the Fundraiser – 29th January 2019

Fundraising isn’t free money. It requires time and effort to identify potential supporters, build relationships and look after people that have given gifts. For a number of funding streams, such as corporates and major donors, it can also take financial investment.

Dedicating time to fundraising is one thing if you have a Fundraising or Development Team, but what if your organisation relies on one or two people playing every role from Artistic and General Director to Office Secretary and everything in between?

The fact you are a small organisation doesn’t change the rules of fundraising but that doesn’t mean it is game over.

Having a Fundraiser on your team isn’t a silver bullet. In fact, there can be some advantages to not having a member of the team with sole responsibility for Fundraising. These advantages include:

Having a better understanding of the project – without a Fundraiser, it is likely that your Artistic Director and/or Project Manager are going to have to take the lead on securing the funds for their own projects. As the driving force behind the project they are in the best position to talk passionately about the work and why it is important. They are often better placed to convey the excitement of the project than a Fundraiser, who can be one or two steps removed from the process.

Having a closer relationship with supporters – given a choice, most supporters would much rather talk to the Artistic Director and the ‘frontline’ team than the Fundraising Team (sorry Fundraisers!). You are the people bringing the work to life. We often take the creative process for granted as we see it on a day-to-day basis. However. for supporters, you represent a magical world that is very different to their own. Having a direct connection with you is much more preferable than having to go through an intermediary.

Fundraising becomes a Team Game – Fundraising should be a team sport. It relies on different people bringing different skills and playing different roles. However, having a Fundraiser can mean that others neglect their roles, assuming the Fundraiser will take responsibility for everything. Having the relationship held with just one person is not ideal and can cause your organisation problems as and when that person leaves. Without a dedicated member of staff everyone on the team has to play a role, meaning the relationships are held more securely within the organisation.

However, in order to maximise these advantages you will need to be proactive. Here are some tips for smaller organisations:

Prioritise – each of the different funding streams (individuals, trusts, corporates etc) have different rules and require different skills. As a small organisation, it is unlikely you will have the resources to fundraise from all of the different streams. Identify the stream, or streams, that are the best fit for your work and that offer the greatest potential for your organisation. This will reduce the risk of spreading yourself too thin.

Put time aside each week for fundraising – this might be easier said than done. However, putting aside even a small amount of time each week to focus on fundraising can pay dividends. At first you will need to use this time for identifying potential supporters and securing your first donations. As you start securing gifts, looking after your existing supporters needs to become a priority – it is easier and more efficient to retain your existing supporters than it is to keep recruiting new ones.

Pick your A-Team – while there are definitely advantages to having a Fundraiser, or Fundraising Team, recruitment isn’t the only way to resource this. Volunteers, board members, existing supporters and artists are just some of the people close to you that could help with fundraising. Identify the roles you need for researching, cultivating, asking and thanking supporters, and the skills needed. Then consider who in your network has these skills and could take responsibility for the steps.

Make your supporters part of the team – supporters don’t just provide financial support. There are other ways they can help. Use the fact that you can build genuine relationships between your supporters and everyone on your team to your advantage. Bring them in, ask for their advice and let them see some of the other challenges that they can solve. This could include helping to build up a community of supporters – a peer-to-peer, donor-to-donor ask is incredibly strong, while potential new supporters can be motivated by the social benefits of being part of a group.

Seek Professional Help – if you are reliant on fundraising for the long-term sustainability of your organisation, recruiting a Fundraiser now could be a wise investment. While it might take a year (0r more!) before you see a return, a good fundraiser with a clear strategy can provide a better return than investing in stocks and shares (or leaving the money sitting in reserves in a zero-rate bank account). If recruiting isn’t appropriate, there are other professionals that might help you – consultants can help develop the most appropriate fundraising strategy for your work, resources and skills, while freelance bid writers can help you to secure funding from grants.

The final tip is to remember that there is no rule that says you have to fundraise. Fundraising is just one source of income. If it is not right for you it might be time to find a different approach. This could include repayable finance, social investment, commercial income, earned income, statutory grants or contracts. All of these sources of funding have their own rules. You need to find the right mix for your organisation.

Looking for more inspiration? You can find more blogs and guides on our – Apollo’s Muse