1. Before you write, prepare

Writing grants is often intimidating because there are strict guidelines for funding, and the grant makers often ask for a list of attachments (like program budgets, Board of Directors’ lists, Audited Financials, etc.). Set yourself up for success by reading through all the guidelines and instructions for the grant before you dive into writing.

Will you need to submit your proposal via email or an online portal? Is there a strict deadline for submissions? Do you need to include a signed letter from your board chair? The grant guidelines should answer these types of questions. 

Make sure you’re prepared by making a list of requirements and attachments. Create a separate text document of the application’s questions. This allows you to save your work incrementally and collaborate with others.

2. Workshop your unique case for success

Your case statement (or case for support) states the most important information about your organization or project. It illustrates your track record and the effectiveness of your work. The goal of a grant proposal is to convince the funder that you and/or your organization are worthy of investment. A robust case statement is one that demonstrates why you are the best choice for financial backing. 

To develop your case statement, ask yourself the following questions:

• What makes your program or mission distinct?
• How does your organization help people?
• Why is your program best suited to serve your community or solve an existing problem?
• Why are you the best person or organization to take on this work?

Developing a strong case for support may take time, but it is something you can use across fundraising efforts, including future grant proposals, with a few edits.

3. Create an archive of templated answers

The questions vary from application to application, but there are some common questions grant makers ask. Common questions include your organization’s mission and history, questions around the sustainability of a project, or goals and objectives. There is no need to reinvent the wheel with every grant proposal you write, as answers to these questions will not change significantly. 

You can copy answers to these questions from your last application, paste them into a new application, and tweak the language as needed. This will save you time and energy. Be sure to review your proposal thoroughly before submitting, however, to catch any copy/paste errors (such as referring to the wrong funder in an application).

Having templated language for grant proposals can also be helpful if you have multiple people working on grants. Templated language keeps the writing consistent and sets an organizational standard across applications.

4. Include quantitative and qualitative information

A strong grant proposal is a balance of quantitative information(such as program statistics) and qualitative information(such as participant stories). Consult your colleagues responsible for measurement and evaluation of your organization’s programs when looking for quantitative data.

Providing numbers in your grant proposal will illustrate the importance of your program in your community and serve as evidence that you are making an impact. Important data points will vary by organization. For example, a program with specific outreach and education goals would want to report the quantity of program participants and the quantity of instruction hours.

You can also use stories and quotes to humanize your work. Try to share success stories and quotes and anecdotes that demonstrate the good outcomes that come from your work. Putting a face to your program can be very compelling; consider the following statements:

“Your support can bring visual arts programming to hundreds of Minnesota students.” or

“Your support can bring visual arts programs to Minnesota students, like Eloise. She says, ‘I love coming to art class! It’s so much fun to be creative and see my teacher each week.’”

Be sure to get the appropriate approvals to use names, quotes, anecdotes, and/or photos from your program participants. Sharing stories and quotes can provide greater context to your work, but if done incorrectly, it can lead to exploitation. 

5. Make sure you use attachments to their full potential

Some funders might give you the option to upload an additional supporting document or two. You may feel tempted to skip these optional attachments because it seems like extra work, but that would be a mistake! 

This is your chance to share more about the amazing work you and/or your organization are doing. Attach a flier about your program, your most recent annual report, or a cover letter from your Executive Director or Board Chair.

By providing more information like the examples above, you will give the funder a greater understanding of the comprehensive work you do and the impact your work has on the community.

Some funders limit your answers to their questions to a set amount of characters or words and these supplemental attachments can give you the space to elaborate or share stories that you otherwise wouldn’t have space to include.

6. Seek out training opportunities

I never set out to be a grant writer. When I started my career, I liked to write and was asked to write a grant proposal for my organization. After writing a few grant proposals, I sought out formal training from The Minnesota Council of Nonprofits. Over the years, I’ve noticed this is how many grant writers get their start. It doesn’t matter if your job title is “grant writer” or if writing grants is just one of the many things you do, everyone can benefit from writing training.

The Minnesota Council of Nonprofits holds regular training opportunities for grant writers. These trainings are offered either in person or online, and are open to all.

Several universities also offer online grant writing training or certification courses, including the University of Minnesota and Northwestern University.

The Grant Professionals Association is also a reputable resource for online training and networking.

Formal training is not required to start grant writing, but courses can help hone your writing skills. Often, you are asked to bring a proposal you are working on to a course and you can receive feedback. Feedback from the instructor and/or your peers provides a perspective other than your own.

Writing is largely an individual activity and when someone else reads your writing and provides feedback, it can help you pinpoint weaknesses in your proposal and correct spelling or usage errors.

7. Learn from others

In addition to training, you can also learn from those around you. Reach out to contacts at other organizations and ask if they would share a successful grant proposal with you for learning purposes. Additionally, some funders will share a successful grant proposal they have funded as an example if you ask. 

Volunteering to serve on grant panels is also a great way to read a variety of grant proposals and be a part of the review process. It is often easier to identify the strengths and weaknesses of someone else’s writing than your own, and seeing real-life examples of what works and doesn’t work will make you a better writer in the process.

Reading other grant proposals is a way to discover narrative strategies, explore word choices, and learn more about syntax and structure. By reading a variety of grant proposals, you expose yourself to writing, perspectives, and programs other than your own. You can see what works in a proposal and what doesn’t and implement what works into your own writing.

Become a Panelist

Arts Midwest welcomes individuals from across the United States who are interested in joining our panels for Shakespeare in American Communities, GIG Fund, or the NEA Big Read.

Panel Opportunities

Conclusion

I’ve been a grant writer for over a decade, and when people ask me how to get started writing grants, I say the best way is to just do it. Your first application may not result in funding, but going through the whole process of writing and assembling a full application is the best way to learn. Practice may not make you perfect, but it will make you proficient and more confident in your grant writing abilities. So, if you get declined with your first few grants, keep trying! You will learn something from each grant proposal you write.

The post 7 Tips to Level Up Your Grant Writing Game appeared first on Arts Midwest.

As we launch the 2025-2026 NEA Big Read around the theme of Our Nature, we want to showcase tips for crafting nature-themed activities. Explore these real world examples from past grantees to get your creative roots growing!

Photo Credit: Pennyroyal Arts Council

Tip 1:  Think creatively about partners

You don’t have to go down this trail alone. In fact, exploring partnerships with different organizations can enhance your initiative and help you reach audiences you may not have otherwise considered. Examples of nature-focused organizations, clubs, and resources to consider include:

• National Parks 
• State Parks 
• Conservation-focused organizations (such as Sierra Club) 
• Garden clubs and programs 
• Farmers’ markets 
• Foraging clubs 
• 4H clubs

As part of their 2024 NEA Big Read program, White Bear Center for the Arts in White Bear Lake, Minnesota, partnered with numerous organizations in their community to host book discussions and creative and educational activities. These partners included the Mahtomedi Garden Club, The Hmong American Farmers Association, and the Saint Paul Almanac. These partners not only brought a wealth of knowledge but helped create a wide array of activities for a diverse audience.

Another example is the K.O. Lee Aberdeen Public Library in Aberdeen, South Dakota. They partnered with the Natural Abundance Food Co-Op to host a farm-to-table event that showcased offerings from local meat and dairy farmers for their NEA Big Read. Facilitators then shared how to use those ingredients to craft healthy, locally-sourced, and budget-friendly meals.

Photo Credit: Ellie Fuelling

Tip 2:  Pair nature with other themes

There are many ways to explore the idea of the natural world. Try combining different sub-themes to find a new approach to the subject. Possible sub-themes you might explore are:

• The Environment – What is your community’s natural surroundings?  
• The People – Who lives, and has lived, in your community?
• Industry and Culture – What landmarks, work centers, traditions, and other aspects define your community?
• History – What aspects of the past have influenced your community?
• Alternate Realities – What do you imagine your community could be or become? 

The Central Arkansas Library System wanted to explore the history of their area and the people who inhabit it. So, they they partnered with the Arkansas Archeological Survey to display artifacts from Arkansas’ history. This allowed folks of all ages to learn about and interact with the objects such as pottery and stone tools.

In Hartford, Connecticut, the Hartford Public Library took another approach to local history: they hosted a walking tour of their city’s oldest graveyard in association with the Ancient Burying Ground Association.

Photo Credit: Geoff Forester

Tip 3:  Scale nature programs for different ages

Whether it’s a lecture on local wildlife, a guided nature walk, or a scavenger hunt, the great outdoors can be appreciated by people of all ages.

The Wichita Public Library in Wichita, Kansas hosted a STEM club for teens and pre-teens. This club included an art-making activity where participants learned about stones and crystals and their meaning to the Native people of the region. Kids then learned how to grow their own geodes!

Not wanting the adults to be left out of the fun, the library then hosted an NEA Big Read Mystery Night where participants investigated a (fake) murder at an archaeological site, exploring artifacts and learning more about the area’s natural and human histories.

Photo Credit: Gabrielle Cerberville

Tip 4:  Consider art projects

An out-of-this-world example of blending art and nature comes from the Fargo-based community arts nonprofit Spirit Room. They enlisted four artists to create art films inspired by Andrew Krivak’s The Bear. These films were then screened at the Minnesota State University Moorhead’s Planetarium. 

Fortunately, you don’t need to venture into the cosmos to connect art and nature. As part of their NEA Big Read for Catalog of Unabashed Gratitude, Pennyroyal Arts Council brought their Hopkinsville, Kentucky community together to craft a mural on the side of a local business. A great example of how art, creativity, and the natural surroundings as a catalyst for communal connection.

At the Lewis & Clark Library in Helena, Montana, they hosted an exhibition of local wildlife photographer Lea Frye’s work. What better way to explore the natural surroundings and the critters within than through an artistic lens?

 Tip 5: Bring in the experts

Let’s face it, nature and the environment can be incredibly intimidating and complex topics to tackle. Why not call in the experts?

That’s exactly what Lewis & Clark Library did for their program on bears. Working with educators from the Montana Department of Fish, Wildlife & Parks, they explored the local bear population and discussed ways to stay safe while out in bear country as a part of their NEA Big Read. 

Later in their programming, they brought in storyteller, historian, and naturalist Greg Smith, a former Backcountry Ranger in Glacier National Park, to share his experiences in the wild.

Photo Credit: Photo by Elizabeth Loeffelman

Hopefully you found some inspiration here and have begun mapping out your own nature themed NEA Big Read. These five tips are only a starting point, a path towards strategic partnerships, dynamic programming, and creative connection. Feel free to explore, evolve, and adapt these tips in whatever way best serves your community. When in doubt, go wild! (Responsibly, of course.)

The post 5 Tips for Combining Nature and Your NEA Big Read Programming appeared first on Arts Midwest.

While urban and rural marketing share many similarities, rural areas offer unique opportunities for success. In tight-knit communities, word-of-mouth and trust often hold more influence than traditional marketing strategies.

Although everyone loves a compelling story and well-crafted marketing plan, these community-driven factors can significantly enhance your efforts, even when your audience is more spread out geographically.

Don’t Be Afraid to Think Big!

People who live in rural areas may be more likely to feel as though opportunities are not available to them because “our town is too small for anything that big to happen here.”

We have found that is just not true. As Wayne Gretzky said, “You miss 100% of the shots you don’t take.” People may be willing to offer their support, if you take the initiative to ask.

We have found that you can dream up and complete wildly audacious projects – even if you live in a rural area!

Our Example:

In late 2022, we had an idea to bring international recycled artist Thomas Dambo’s larger-than-life trolls to Detroit Lakes, Minnesota, a town of about 10,000 people.

It started with a simple email inquiry. From there the conversation progressed to more emails and Zoom meetings until a contract was signed.

As of spring 2024, our small town became the home of the world’s largest exhibition of Thomas Dambo’s trolls. 

Know Your Audience

Every rural community is different, which means there is no one-size-fits-all solution. We have learned that success in connecting comes down to understanding and speaking to the community’s unique qualities and the roles people play within that community.

You can’t create a successful strategy without knowing what matters to people, so taking time to listen and learning what is important to your audience is critical. Engaging in real conversations, attending local events, and seeking out key community contacts can provide insight. These firsthand interactions will be your guide to reaching people in a way that resonates.

Our Example:

Thomas Dambo’s trolls are very popular around the world. We knew we had a responsibility to prepare local businesses and the general community for the influx of tourists. We didn’t want to assume they would hear about it through traditional media, or even social media, so we chose to take a grassroots approach.

In 2024, April 12 became “412 Day.” Our team canvassed the town bringing flyers (and treats) to as many businesses as possible. We also worked with our local radio station and newspaper to help get the word out.

In doing so, we gained real-life data from our business community and learned that physical outreach can be a very effective complement to our marketing strategy.

Find Your People

To reach rural audiences you need people on the ground who are part of the community and understand its pulse. Finding the right local ambassadors can make a world of difference! These individuals can be your biggest advocates by spreading your message and helping you grow in ways you couldn’t on your own.

Our Example:

We needed to fill 472 volunteer time slots to build our larger-than-life troll exhibit in Detroit Lakes. 472 people is 5% of our population! After panicking a bit and questioning the craziness of this giant project, we accepted the challenge and decided we could do it! We pulled our core team together and brainstormed all the ways we could get the word out about the need for volunteers.

People stepped up to volunteer for a variety of reasons:  

• Some knew of Thomas Dambo, followed his work, and wanted to be involved
• Some supported our Project 412 organization and have been willing to help with almost everything we do
• Some responded to our pitch that the volunteer opportunity would be unique, fun, totally different, and a once-in-a-lifetime opportunity
• Some people were simply curious to see if we could do this giant project and offered to help because of that.  

To our happy surprise, we filled those time slots…and then some!

Our volunteers were fantastic. Many had so much fun that they signed up for multiple time slots. They called and invited their friends to get involved. The environment around the project was extremely positive and creative. People felt the good energy and just wanted to be part of it. 

We thanked the volunteers every chance we could – at all our community presentations, via social media shoutouts, in person at the training, and during the build. We also hosted a large volunteer potluck event to thank them and to give them a chance to meet the artists, and connect with fellow volunteers again. 

The great benefit of all this is that the volunteers felt true ownership of the project and continue today to be supporters of the trolls and other projects we are doing.

Photo Credit: Carmen McCullough

Photo Credit: Carmen McCullough

Media Matters

Don’t overlook the power of local media in rural areas. Whether it’s the small-town newspaper or a local radio station, these platforms are important avenues for people to get their local news. Developing and maintaining a mutually beneficial relationship with local journalists and media outlets is invaluable.

You need to get the word out about your project and the media needs new and relevant content. They will be more likely to help you promote your event if you organize your content and make it easy for them to help spread the message. 

Traditional media is changing in rural communities. Due to a decline in the number of independent newspapers, rural areas are less likely to have local news coverage. When traditional media is not available, don’t discount the importance of social media content which can be driven by one of your locals.

Facebook groups can be a great way to reach people at a grassroots level. Look for local community pages on Facebook. Even a “swap and shop” type group could be a place to reach others to share your message or promote your event. If you have access to mailing lists, a good old-fashioned direct mail campaign is effective as well.

Photo Credit: Carmen McCullough

Our Example:

Knowing the importance of media in spreading our message and wanting to ensure coverage, we gave our local, regional, and state media outlets special access to the exhibition as it was being built with a unique twist.

Those who attended our on-site press event were driven through the woods on all-terrain vehicles to the then-secret sites where the trolls were being built. The media reps graciously gave up their phones and were blindfolded during the journey so they couldn’t disclose the locations. They were also given access to meet and interview the artist, Thomas Dambo.

Conclusion

As with marketing in a city, reaching a rural audience is an ongoing effort. Once you’ve established a foothold in a rural community, don’t stop there. Continue to build on it with ongoing conversations. It’s a long game, and trust deepens over time. The key is to stay consistent and present, even when you’re not actively promoting a message.

If you take the time to know your audience, build trust through local media, lean on your people, think big, and ask for help when needed, you’ll be in a strong position to succeed. And always keep building and creating new ideas and events, because the relationships you nurture today will help your marketing efforts and projects grow and thrive tomorrow.       

The post Is Anybody Out There? Tips for Reaching Rural Audiences appeared first on Arts Midwest.

The Pennyroyal Arts Council has participated in the NEA Big Read program in nine of the past eleven years. In recent years, our decision to engage the author of our chosen book has been a game-changer, significantly impacting the interest and success of our programming. 

We’re sharing our experience to provide insights and inspiration for how NEA Big Read grantees can approach an upcoming program. We will offer a few success stories to show how incorporating authors into your program can make a big difference.

Understanding Key Roles & Costs

Booking an author involves someone in your organization who can negotiate a fee and contract.

• The author is generally represented by an agent who negotiates the contract with you and your organization.
• The manager often handles the hospitality logistics, technical needs, travel, hotels, and meals. 

Hospitality costs are generally in addition to the author’s booking fee.  Soliciting additional sponsorship for the author’s visit is a solid plan. Often, you can search out and recruit a sponsor that ties into the subject or theme of your programming, further engaging your community. 

 Steps to Making an Offer

The first step is to identify the agent who represents the author by searching the author’s website.  While you’re there, research the author and determine where they live, whether they teach, are involved in TV or film productions, or are on a book tour. These factors will give you a better understanding of the author and whether they would travel to your community. You can also research the NEA Big Read website to see how many other grantees chose your book, indicating your competition in securing a visit. 

Several factors influence an author’s decision to visit your community, including availability. We have found that engaging with the author early in programming, ideally, as soon as you receive the NEA Big Read, makes a difference. In our experience, tying the visit to our kick-off event and book giveaway significantly impacts our community. This early engagement is a proactive step that can dramatically affect your programming, giving you a sense of control over the process. By reaching out early, you can secure the author’s availability and plan the visit well in advance, ensuring a successful and impactful event. 

Success Story: When an Author Visit is not an Option

Creativity is your friend in years when your book choice doesn’t have the option of an author visit. When programming To Kill a Mockingbird we contracted with Mary Badham, the actress who played Scout in the movie of the same name.  She was a huge audience draw.

When we chose the Great Tales and Poems of Edgar Allan Poe, our committee researched actors with shows or programs around Poe. We contracted with a Poe impersonator, and our opening night was Edgar Allan Poe’s mock funeral. We had “Edgar Allan Poe” in our community for several days, engaging in school programming and speaking to local city and county government officials. It was enjoyable to see who could spot Edgar Allan Poe in town!

Our community enjoys incorporating a theater aspect to our NEA Big Read programming, and we work with our local theatre group to bring our book selection to life and create community ties.

Craft a Compelling Pitch

After gathering some basic information about the author, it is time to contact the agent with an introductory email. Your excitement about being selected as an NEA Big Read community should be front and center, and you should share why you chose their book. Then, let the agent know what you want from the author’s visit.

Would the author be a part of the Kick-Off event? Do you like the author to interact with students, and what kind of format do you have in mind for the evening or event? It’s important to be clear and specific about your expectations, but also open to negotiation and compromise. Remember, the goal is to create a mutually beneficial and impactful event.

 We have had great luck talking to the agents on the phone and have found that the personal relationship you can build with the agent is not just a key factor but a crucial one in agreeing to a fee for that author. This relationship-building is a valuable effort that can significantly impact your programming. Your interpersonal skills and ability to build rapport can make a difference in the negotiation process. 

Determine Event Setting (Virtual vs. In-Person)

There are multiple ways of engaging the author in your programming. An in-person engagement will always be more expensive than involving them virtually. However, the in-person experience can create a more intimate and memorable event, while virtual events can be more cost-effective and accessible to a broader audience. Consider the pros and cons of each option and how they align with your programming goals and budget. Virtual engagements can be a great option if you’re working with a limited budget or want to reach a larger audience. They can also be more flexible regarding scheduling, as the author doesn’t need to travel. However, an in-person engagement may be the way to go if you want to create a more personal and immersive experience. 

Success Story: Tommy Orange’s There There

There are other ways to engage your audience with the author. Virtual experiences are a much more cost-effective way to include your author in your programming. We live-streamed Tommy Orange for our There, There NEA Big Read programming.

Finalize the Contract

Once a fee is mutually agreed upon, the agent will submit it to the author for approval. This process can take a few days, so be patient. Often, a deal is negotiated pending the grant award, meaning the contract will be executed if funding is received. This allows plenty of calendar time for your author when the agreement is mutual. 

The negotiation process for the speaking fee involves mutually agreeing to the cost and any additional expenses. Be prepared to discuss the speaking fee, travel expenses, accommodation, and other costs associated with the author’s visit. It’s essential to be clear about your budget and what you can afford, but also be open to negotiation to ensure a successful visit.

Conclusion 

Involving the author of your book, whether in person, remotely, or getting creative to invite related actors or organizations to bring them back from the dead, can add a memorable experience for your community. Your planning committee’s strength and organizational skills are significant in securing programming.

Collaborative programming that the NEA Big Read inspires can bring your community closer together—something we all can use!

The post Navigating Author Contracts for NEA Big Read Grantees appeared first on Arts Midwest.

For a half hour I had been trying to explain to a group of academics the unique importance and value of story circles, when a grad student interrupted me and nailed it. 

Lately there’s been a lot of talk about the need for unity: “bridging divides,” “working together across differences,” “ending toxic polarization,” and so on. Which makes sense, given the growing malignant mass of well-funded interests dedicated to convincing us that we — our communities, our country, our world—are hopelessly divided (I’ve written more about this in my newsletter). Still, a lot of this talk can feel like, well, bullshit: preachy elites telling us to give up our deepest-held values or make nice with people who may well want us dead.

Story circles are different. They weren’t invented by think tanks or foundations, but by grassroots theater makers: the African American Junebug Productions, with roots in the Civil Rights movement, and the Appalachian Roadside Theater, with strong ties to labor organizing in the coalfields. Story circles aren’t facilitated by credentialed experts, but by regular people. The only qualification for running a story circle is having been in one. 

Nor does anyone have to compromise on who they are and what they believe in a story circle. They simply ask that we share our own experiences from our own perspective, listen to others share theirs, and witness the common story that emerges, naturally, in the middle of the circle.

Photo Credit: Adam Carr

How Story Circles Work

Story circles have a lot of rules and procedures—here’s a step-by-step-breakdown—but they’re pretty straightforward: 

• Everyone participates; there are no spectators. 
• No one joins late or leaves early, except in case of emergency. 
• Participants sit as close to each other as possible, with phones off, notebooks put away, nothing on your lap at all. 
• One person talks at a time, going around the circle to the left or right, with no interruptions. (Anyone can pass; they’ll get another chance in the next round.) 
• Each person shares a personal story, with characters, setting, beginning, middle, and end—and that’s it: no commentary, explanations, opinions, or morals. 
• There’s no timer, but people who go past the set time limit (usually 3-5 minutes) get a gentle nudge to finish up. 
• And finally (this is important) everyone is asked not to share the story they think of when they hear the initial prompt (more on prompts below), but to listen carefully to the stories that come before theirs, and then to share a story that complements, complicates, contradicts, or otherwise responds to the stories they’ve heard so far.

After the story circle starts, the facilitator talks only to share their own story, when it’s their turn—everyone in the room participates, including the facilitator—and to offer quiet and friendly reminders of the rules, as needed: 

• When someone talks for too long: “Please finish up when you can.” 
• When someone talks out of turn: “Please wait until it’s your turn to talk.”
• When someone gives generalities or talking points instead of sharing a story: “Is there a story about that you’d like to share?”

These rules and procedures may seem like a lot. But after running story circles for a decade, I can assure you they work. When followed faithfully, they make it possible to create, in a world full of inequalities, a small and precious space where everyone’s voice is equally heard and valued. 

In a story circle, people who tend to dominate discussions learn to listen, knowing they’ll have their turn to speak and be heard; and people who tend to hold back find themselves speaking up, knowing that no one will interrupt or talk over them. At the end, when the group reflects together about the stories they’ve just heard, they inevitably discover elements of a “story in the center of the circle”–a story that they find, to their surprise, they all somehow share.

Photo Credit: Malcolm J. Wilson

The Results

No one in a story circle is ever pressured to say more than they want to. But given the chance, participants often choose to share deeply, even in story circles in story circles with people they’ve never met before. And they are astounded by how much they learn, even in story circles with in story circles with people they’ve known for years. 

Three short stories:

A story circle with wealthy white Massachusetts liberals and working-class white Kentuckians of mixed political views started with the prompt: Tell a personal story of a moment that shaped how you participate in society and ended up revealing how many people from both places had survived violence in their families. This included both political violence (connected to religious persecution and labor exploitation) and domestic violence.

In a story circle with members of a small-town Black church, with the prompt Tell a personal story of a moment when you struggled to take care of yourself, several congregants discovered they weren’t alone in wanting to get fit but feeling ashamed to get started. Then another congregant said she wanted to start an exercise club but didn’t think anyone would join. A new business was born!

A story from Roadside Theater, one of the creators of the story circle: “One night in eastern Mississippi, a white woman in the circle told of a Black woman who took care of her when she was a small child: ‘I loved my nanny, and I was heartbroken when she suddenly stopped coming to my house.” Crying, she continued: ‘Throughout my childhood, I feared that I had done something wrong and she had abandoned me.’ As we continued around the circle, a Black man told a story about his mother: ‘My mother spent six days and six nights every week taking care of a white child so we could have a roof over our heads and food on the table.’ By the end of the evening, they discovered they were talking about the same person, that his mother was her nanny. He said, ‘For so many years I hated this child I had never met, because she took my mother away from me. Now I see that this situation harmed her, too.’” 

Photo Credit: Donna Porterfield

Planning a Story Circle

The first question to ask when planning a story circle is: What’s the goal? If the story circle is successful, where will the group be at the end of it? The most effective story circles—including the three described above—are not one-off events but key moments of reflection during a process of pursuing common goals together.

Then, the second question: What’s the prompt? What do we want to ask participants to share stories about, that will point them in the direction of that goal? Effective prompts usually start with “Tell a personal story about a moment when…” and stay as short and simple as possible. Make sure that (1) everyone can relate to the prompt, however they may want to interpret it; and (2) all participants are prompted to see themselves as having a say in their lives (something they did), as opposed to being victims (something that happened to them).

After that, just follow the steps in the guide. Don’t worry if it feels a little awkward the first few times. Running a story circle is a craft, and like all crafts, it’ll feel better as you gain experience and develop your own style. And when you get doubtful or discouraged, remember that people everywhere are craving the chance to tell their stories, to connect with others, to listen and be heard, and to experience unity without bullshit. You get to give them that chance.

Additional Resources

• Story circle facilitation guide (printable)
• Story circle discussion paper, by one of its creators
• Story circle background information, by another of its creators
• Principles for building diverse community organizations, including the role of story circles

For Further Reading

• We Are Not Hopelessly Divided, from Ben Fink’s newsletter
• More information on Junebug Productions and Roadside Theater
• More storytelling and organizing tools, from the website of a two-volume book series about Roadside Theater

The post How—and Why—to Facilitate a Story Circle appeared first on Arts Midwest.

Identify and and Engage Partners

When identifying partners for any large project, determining the mission and vision alignment between the partner organization and the project is key. Partnering with organizations that are subject matter experts on different aspects of the project is also an important way to bring efficiency and knowledge to the achievement of a common goal. 

During the WPL Big Read program, we look to our community to help us make many crucial decisions. We engage neighboring libraries and arts organizations to decide which book we will focus on each year. We then determine which partners may be a good fit based on the themes and topics of the book. 

For example, when celebrating the book, There There by Tommy Orange, our library partnered with the Mid America All Indian Museum; Hunter Health, and our school district’s Native Student Program. There There focuses on the urban life of Native Americans through the voices of 12 characters, so I chose organizations that were relevant to the urban life of Native Americans in our own community. 

I also look for organizations that focus on a mission that may not be as centered on the obvious themes of a project, but is an out of the box partner that brings benefit. Our current Big Read focus is the book Sitting Pretty: A view from my ordinary, resilient, disabled life by Rebekah Taussig. We are partnering with the Kansas Leadership Center for this program to explore the themes of empowerment and activism in the book.

Photo Credit: Sean Jones

Craft Your Ask

When approaching an organization about partnering on a project, consider sending a first ask through email to the potential partner’s community engagement staff or leadership so they may consider the request in writing and respond in the same way.

It is important to include three key elements in the first ask:

• Demonstrate the prior success or potential success of the project.
• Explain what you believe the organization can bring to the project.
• Outline the responsibilities and time commitment of the partnership.

This exercise at the beginning of the relationship helps an organization that may not be familiar with the project or our library’s work to envision how they can fit into the partnership and how it can benefit them.

Create Committees to Assist

While it is important to have a lead person for a multi-partner project, a single person is rarely able to coordinate a large project without additional staff and partner support. One strategy that we use to ensure that the WPL Big Read program has the proper support is to create three different Big Read committees:

Having Primary Partners as our lead group helps ensure that organizations that are subject matter experts are the primary decision makers for our program. It is also a small enough group that decisions can be made more effectively. 

Photo Credit: Sean Jones

Use Best Practices for Meetings, Updates, and Check-Ins

To successfully navigate a partnership, the lead organization and partners should be willing to meet regularly to discuss the project. At the same time, these meetings should be necessary and productive so that partners know that you respect their time commitment and workloads. 

Sending a request two to three months before planning for the project needs to begin is helpful. This gives partners an opportunity to look ahead at their schedules and determine if the project is a good fit based on their capacity. 

I often find that if I am asking for a partnership that will begin immediately, people feel overwhelmed by their current workload and are less likely to commit. Giving plenty of notice helps them prepare them for future work and makes it seem less daunting, increasing your chances of getting a yes to a partnership request.

It is important to share meeting notes that include action steps and notations that show which team member is responsible for a task. Shared documents are also effective, as they allow partners to update details about a project in real time, limiting the amount of time spent emailing the team. 

Routine check-in meetings should be kept short and productive. Always send out an agenda beforehand to determine what information needs to be gathered before the meeting and shared during the meeting. It is up to the lead organization to be responsive and communicative, so that your partners will follow suit.

Pro-Tip: Brainstorm in Person If Possible

While online meetings can be a timesaver, I try to always schedule brainstorming or idea- generating meetings in an in-person format. Being together in a room seems to generate more discussion and makes people feel more committed to the project. Many of WPL’s most successful and meaningful Big Read program offerings were thought of during in-person meetings.

Photo Credit: Sean Jones

Create a Detailed Timeline

A timeline for a successful multi-partner project should break down the project into key milestones and deliverables. 

Providing partners a detailed timeline allows them to make decisions about what work needs to be done and completion dates for their own organization. A timeline for a successful multi-partner project should break down the project into key milestones and deliverables. 

A detailed timeline for a successful multi-partner project should include:

• All tasks required to achieve each milestone
• The name of the partner or staff member who is responsible for each task
• Budgeted expenses so that partners understand what funding is available for each task
• Regular partner meetings
• Buffer time for unexpected delays or issues

Send Confirmation Letters and Program Documentation

WPL’s Big Read program often includes up to 60 different programs and book discussions occurring in a 6-week period. This means that excellent event management must be in play for the programs to stay organized and well done. 

When scheduling a program, I send a formal confirmation letter to presenters and partners to ensure that they have all the information they need before the event. With so many people involved in these programs, it is important to develop contingency plans to address potential issues like an event space becoming unavailable or a presenter that is unable to attend. 

For our most complex Big Read programs, our staff create documentation of the program that includes:

• A run of show that outlines every minute of the program from start to finish
• Confirmations and contracts for presenters
• Logistics details like transportation, room setup, and technology needed

This kind of documentation is especially important for programs that involve multiple partners because it keeps everyone in the loop and allows each partner to assist during the event.

Photo Credit: Sean Jones

To Navigate Difference, Keep Communication Open 

A common scenario you may face when managing a multi-partner project is that you may encounter differences between partners that can lead to misunderstandings and conflicts. To avoid this pitfall, work to understand each partner’s cultural norms. It is important to encourage open dialogue and collaboration to bridge any cultural gaps. 

During the WPL’s Big Read program we deferred to our own Native staff members and Native-led organizations when planning events. For example, while planning a program that would include a Native drum circle, I learned that we should not have anyone speaking during drumming and that we should present each member of the drum circle with a gift after the event. Because we had fostered collaboration with our partners and staff, they felt open to share these details with us and helped us avoid any offense.

Photo Credit: Sean Jones

Conclusion

While working with multiple partners on a single goal can be challenging and complex, the product of bringing so many groups together is fulfilling and inclusive. When the WPL Big Read program brings in new partners, we can connect more fully with organizations that we have not worked with before, and cultivate long-lasting relationships with them. 

Partnering with subject matter experts also makes our Big Read program reflect the communities we are looking to represent and learn more about. Seeing a large project come together through teamwork is incredibly satisfying!

Checklist for Running Large, Multi-Partner Projects

The post Tips and Tricks for Running Large, Multi-Partner Projects appeared first on Arts Midwest.

This article strives to make the eligibility process a little easier, and offers our best tips for submitting the most competitive application possible.

What does my organization need in order to be eligible for Federal funds?

Due to government legislation, an organization needs to have their 501c3 status and a UEI number from SAM.gov to be eligible to apply for and receive grants for federally funded programs.

Arts Midwest administers a couple of grants that come from the National Endowment for the Arts, which is an agency of the United States federal government. As of 2023, these federally-funded programs are Shakespeare in American Communities, NEA Big Read, and the GIG Fund. To apply for any of these grants, you’ll need to have your 501c3 status and a UEI number from SAM.gov on hand.

If you apply to the National Endowment for the Arts directly, you will still need those same credentials.

Get Your Free Unique Entity Identifier (UEI)

A UEI or Unique Entity Identifier is an ID your organization will need to apply for Federal grants and you can register to get one or look yours up at www.SAM.gov. Click the button below to download our short guide on getting your free UEI.

Download Our UEI Guide

University of Iowa

Iowa City, IA

NEA Big Read

Photo Credit: Miriam Alarcón Ávila

Work with your local APEX Accelerator

APEX Accelerators exist to help organizations get funding from the federal government, whether it’s for contracts or grants. With over 300 local offices, APEX Accelerators form a nationwide network of dedicated procurement professionals working to help local businesses become eligible for funding. The best part is that they provide no-cost, one-on-one counseling.

APEX Accelerators can be especially helpful in navigating the System for Award Management (www.SAM.gov), where your organization will need to register to be eligible to receive Federal funds.

Find Your Local Accelerator

Poetry Reading

Locust Grove, OK

NEA Big Read

Photo Credit: Byron Totty Photography

Consult the Federal Service Desk

Another resource you can take advantage of when you are registering and encounter any problems is the Federal Service Desk (fsd.gov). They can help with any technical issues you may have and assist with the SAM.gov registration process.

Visit the Service Desk

Much Ado about Nothing

Cedar City, UT

Shakespeare in American Communities

Photo Credit: Karl Hugh

10 best practices for strong grant applications

Now that you have your UEI number, you are ready to begin working on your grant application!

Based on our work speaking with thousands of applicants, the following tips represent the key areas where we recommend focusing your efforts.

The post Best Practices for Federal Grant Applications appeared first on Arts Midwest.

I’ve broken down Event Planning 101 into four essential couplets to consider when planning your event to help accomplish your goals. This guide is ideal for arts administrators, non-profit executive directors, and anyone who works at small to mid-sized nonprofits. Let this resource guide you through the do’s and don’ts as you plan your next event.

Pro tip

Consider the methods of how you’re communicating with community partners! It can be tempting to just send emails, but sometimes the most effective way of creating new partnerships depends on understanding cultural and generational contexts and exploring new methods of connecting. Show up for community events, put faces to names, pick up the phone, be available for virtual meetings, or be open to other methods of communication, and you’ll have a better chance of making real, lasting partnerships.

Donna the Buffalo

Porcupine Mountains, MI

Touring Fund

Photo Credit: David Breathwaite

The post Event Planning 101 appeared first on Arts Midwest.

Integrating State Learning Standards

You will need to develop a partnership idea before you contact anyone in the school district. It does not need to be fully fleshed out just yet. The teachers and administrators you work with will have thoughts on how to shape a program to best fit students’ needs. In order to build a partnership with public schools or districts, your plan should connect with at least a few learning standards. Your state’s academic standards are on the state-level Department of Education website. All state websites are available on the US Department of Education website.

You will be able to access information about the standards divided by subject and by grade. Use that information as your foundation as you work on your partnership idea. Subjects include arts, social studies, mathematics, science, and English language arts, among others. Your organization will find connections between the work you do and the learning standards school districts seek to meet.

If there is a specific grade or age range you would like to work with, incorporating the relevant learning standards will help sell your partnership idea to teachers and administrators. It is important to note that states update their learning standards periodically. Even if you have accessed them before, you will want to make sure you are referencing the most current version.

How We Did It: Integrating State Learning Standards

The Massillon Museum recently read ‘An American Sunrise’ by Joy Harjo as part of the NEA Big Read. Working with the Massillon Public Library, we determined that we wanted to bring the NEA Big Read to younger students in our community. We began by researching Ohio learning standards for English language arts and decided to target grades kindergarten, one, two, and six. We chose the reading standards for literature connected with key ideas and details, craft and structure, integration of knowledge and ideas, and range of reading and level of text complexity.

Once we determined the learning standards, we were ready to approach the next step of the process—developing our partnership idea.

Photo Credit: Byron Totty Photography

Developing a Strong Partnership Idea

Do you feel comfortable working with your state’s academic standards? Now you can begin building your partnership proposal around them. If any of your staff members or volunteers are current or former educators, ask them for their input. Does your organization have a board of directors? If there is space, open a seat for an administrator or teacher who serves your local school district. Does your organization have committees? You could create an Education Committee or a Partnerships Committee. The committee could include representatives from your organization, area schools, and the community. This group could help develop creative ways to work with school districts in your region. Their backgrounds would provide a broad range of knowledge and expertise.

Your partnership idea will likely be specific to your organization. Use resources you provide to your community to help guide you. Some potential partnerships based on your abilities and mission could include:

• A music program that brings students to your site or takes musicians into the schools to interact with students;
• An annual exhibition of students’ artwork or projects displayed onsite by your organization, or on your website;
• Author visits during which students can ask questions of an author whose work they have read in their classroom or at your site;
• In-person or online tours of your facility that allow you to showcase the resources you offer for students;
• A mentorship program hosted by your organization that enables students to learn about different career paths;
• A theater partnership that invites students to work with your organization to write, direct, and perform original plays;
• Outreach programs in which your organization’s staff members visit classrooms to teach about specialized subject areas;
• Continuing education programs for area K–12 educators that enable teachers to earn credits toward license renewal.

Before reaching out to someone at a local school or district, you should be able to clearly communicate basic information about your partnership idea. You should share details including the program time frame, the grade levels you would work with, the learning standards incorporated, the resources your organization will provide, and the time and resources the teacher, school, or district would be expected to contribute.

How We Did It: Partnership Development

The Massillon Museum and Massillon Public Library created a Little Read program to complement the NEA Big Read in our community. We wanted to offer age-appropriate titles with similar themes to ‘An American Sunrise.’ These accessible books would allow younger students to participate in NEA Big Read programming. In addition, librarians planned to visit second-grade classrooms throughout Massillon City Schools to read the Little Read book and interact with students. Before we approached the school district, we needed to find funding.

Photo Credit: massillion.org

Finding Funding

No matter how strong your idea may seem, a school district may not work with you if the cost of a potential partnership is too high. You should work to make your proposal as cost-effective and accessible as possible. Are you able to include the program in your organization’s operational or program budget? Could you offer scholarships to classes or schools? Can you help pay for busing to your site? Is there a business in your area that might sponsor the partnership? Meeting schools where they are at with expenses will help sell your partnership idea.

How We Did It: Funding

Local organizations helped the Massillon Museum and Massillon Public Library purchase Little Read books for students. One Tiger, Inc., and the Rotary Club of Massillon generously offered their support when we approached them to seek funding. Our organizations were able to buy a copy of the Little Read book for each kindergarten, first-, and second-grade classroom and for each sixth-grade student in Massillon City Schools.

Photo Credit: Massillon Museum

Reaching Out to School Districts

Once your organization feels ready to approach a school, there are many starting points of contact. If you already know an employee who works in the district, you could begin by reaching out to that person and asking where to go from there. If you do not know anyone in the district, you could begin by contacting your county or regional Educational Service Center (or Educational Service Agency or Cooperative depending on where you live). Staff at these centers are in regular contact with teachers and administrators in your region. They can recommend specific people to contact based on your partnership idea.

Explore staff directories on school district websites in your region if you would prefer to research administrator or teacher contact information yourself. Many staff directories include the grades and subjects that educators teach. Some list whether a teacher is a department head for the district in a given subject. Some may also list what club advisor or coaching positions educators hold. This information can help narrow down your search to one or more employees to contact.

If you are hoping to build a district-wide partnership, you could reach out to the district superintendent to start. Superintendents are the administrators in charge of the district. They can work with you to determine if your program is a good fit for their students. They might put you in touch with principals in their district. Superintendents or principals may connect you with the district’s curriculum director or coordinators. These staff members make sure the district meets learning standards. They might suggest changes to your program to fit the district’s needs.

Parents and students in your area could also provide helpful feedback. They have valuable insight into the district and its schools. The district’s parent-teacher organization or any of the PTO units at individual schools are another useful resource. Parents, teachers, and students involved in these organizations can be great advocates. They can assist you in reaching educators and administrators throughout the district.

How We Did It: Outreach

Librarians contacted the curriculum director for Massillon City Schools with our partnership idea for the Little Read. The curriculum director worked with us to confirm or suggest age-appropriate titles. ‘Fry Bread: A Native American Family Story’ by Kevin Noble Maillard was chosen for kindergarteners, first, and second graders. ‘Two Roads’ by Joseph Bruchac, ‘Mary and the Trail of Tears: A Cherokee Removal Survival Story’ by Andrea L. Rogers, and ‘An American Sunrise’ were options for sixth graders based on each student’s reading level. With the titles finalized, the curriculum director put us in contact with classroom teachers throughout the district, and we formed a strong partnership.

Evaluating Your Partnership

Evaluating your program is key to its success. You should check in with partners during and following your program. Your organization could schedule a phone call or meeting, check in via email, or create and send a survey to partners. Many free or paid survey tools are available online, such as Survey Monkey or Google Forms. Partners’ responses will help you to better understand their needs and thoughts on what they liked or did not like about the partnership. Using feedback from partners will help you to strengthen your program.

How We Did It: Evaluation

Our organizations were thrilled to work with more than 1,000 students in Massillon City Schools through the Little Read partnership. The Massillon Museum and Massillon Public Library wanted to ensure that teachers involved in the partnership found it to be equally beneficial. Librarians emailed educators to ask for feedback about the program. We plan to use their responses moving forward to keep parts of the Little Read the same or adjust them to better suit teachers’ needs.

Massillon City Schools

Massillon, OH

Big Read

Photo Credit: massillion.org

Conclusion

Your organization can approach school districts in countless ways. Put your best foot forward and share the resources you can offer to students and teachers in your region. You will build long-lasting partnerships that will strengthen your organization and community!

The post Creating Partnerships with Schools and School Districts appeared first on Arts Midwest.