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Saturday, January 28, 2012

EXPLORE THE BUSINESS OF GRANT PROPOSAL WRITING


By Gail R. Shapiro

Many professional writers are asked to help charities write proposals for grants. How do you get started as a professional proposal writer?

Most of us began by volunteering to raise funds for a non-profit organization with which we already were involved. Others started by answering an ad for a grant writer. (Note: this term often is used incorrectly. The one who writes the proposal is a "grant proposal writer," the one who gives the money writes the grant). Many times, little or no compensation is offered by small or start-up non-profit organizations asking for proposal writing help. You obviously can choose to volunteer your time, either to get more experience in learning how to write proposals, or because you love the mission of the organization.


But for those who dream of becoming a paid professional in the field, it's important to understand that grant proposal writing is not simply creative writing. It takes training, as well as technical knowledge, both in non-profit management as well as in the "business" of your client's organization. It can also require knowledge of the funders in your particular geographic area, as well as each one's specific focus and priorities.

Most grant proposal writers are hired by non-profits, schools, and agencies. Many others are free-lance consultants working for a regular group of clients or taking occasional assignments. Beware of offers to pay you a percentage of monies raised! Working on a percentage basis (or small fee plus percentage) not only is not advantageous either to the client or the writer, but it also violates the Code of Ethics of the Association of Fundraising Professionals (www.afpnet.org), to which many of us belong. It is unlikely that a professional who cares about advancing philanthropy and donor-based fundraising would work on a commission basis. In addition to being unethical, it devalues your time and skills.

Most proposal writers charge by the project or by the hour, as it is difficult to tell ahead of time how long it will take to prepare a proposal, particularly if one has not worked before with a particular client. Much depends on what the client already has prepared, how cooperative they are about getting information to the writer in a timely way, whether this proposal is a top priority for them, and so on.

Before you accept even a volunteer position as a proposal writer, be sure that the program or project for which the client is requesting funds is fully developed, has a feasible budget, and a good evaluation component. Developing this material is the duty of the program staff who will be implementing the project or program. Missing any one of these components means that, in addition to being a proposal writer, you will be expected to serve as: program developer, evaluation specialist, and maybe even budget developer.

An experienced proposal writer normally has some knowledge of all these components and skills. If you are called upon to do more than write the proposal itself, make sure you are properly compensated. If you don't have experience in these areas, then volunteering with a NPO may be a good place to start one's career. Keep copies of all proposals you write, even those that are not successful. You can learn as much from failures as from successes.

Always be mindful of your client's confidentiality and proprietary information - grants are competitive, and the agency most likely will not want their work shared with others.

While the field is competitive, there is always room for good people in any profession. If you are not directly involved in providing vital services to a specific population to help them improve or change their lives, or in making your community more livable or beautiful, or in protecting our environment, then obtaining money for those who do this work is a great contribution to make to the world. We wish you well in your endeavors.

Carla C. Cataldo and Gail R. ShapiroExcerpt adapted from:Get That Grant, The Quick-Start Guide to Successful Proposals

BIOGail R. Shapiro, Ed.M, and Carla C. Cataldo, M.P.P., offer consulting services to non-profit organizations. Together they have 55 years of experience writing successful proposals in education, health, human services, transportation, the arts, and other fields. They have taught hundreds of students nationwide how to write polished, winning grant proposals. 

Saturday, January 21, 2012

Fifty Writing Tools: Quick List | Poynter.

Fifty Writing Tools: Quick List | Poynter.

Fifty Writing Tools: Quick List

Use this quick list of Writing Tools as a handy reference. Copy it and keep it in your wallet or journal, or near your desk or keyboard. Share it and add to it.
I. Nuts and Bolts
1. Begin sentences with subjects and verbs.
Make meaning early, then let weaker elements branch to the right.
2. Order words for emphasis.
Place strong words at the beginning and at the end.
3. Activate your verbs.
Strong verbs create action, save words, and reveal the players.
4. Be passive-aggressive.
Use passive verbs to showcase the “victim” of action.
5. Watch those adverbs. Use them to change the meaning of the verb.
6. Take it easy on the -ings.
Prefer the simple present or past.
7. Fear not the long sentence.
Take the reader on a journey of language and meaning.
8. Establish a pattern, then give it a twist.
Build parallel constructions, but cut across the grain.
9. Let punctuation control pace and space.
Learn the rules, but realize you have more options than you think.
10. Cut big, then small.
Prune the big limbs, then shake out the dead leaves.
II. Special Effects
11. Prefer the simple over the technical.
Use shorter words, sentences and paragraphs at points of complexity.
12. Give key words their space.
Do not repeat a distinctive word unless you intend a specific effect.
13. Play with words, even in serious stories.
Choose words the average writer avoids but the average reader understands.14. Get the name of the dog.
Dig for the concrete and specific, details that appeal to the senses.
15. Pay attention to names.
Interesting names attract the writer � and the reader.
16. Seek original images.
Reject clich�s and first-level creativity.
17. Riff on the creative language of others.
Make word lists, free-associate, be surprised by language.
18. Set the pace with sentence length.
Vary sentences to influence the reader’s speed.
19. Vary the lengths of paragraphs.
Go short or long — or make a “turn”– to match your intent.
20. Choose the number of elements with a purpose in mind.
One, two, three, or four: Each sends a secret message to the reader.
21. Know when to back off and when to show off.
When the topic is most serious, understate; when least serious, exaggerate.
22. Climb up and down the ladder of abstraction.
Learn when to show, when to tell, and when to do both.
23. Tune your voice.
Read drafts aloud.
III. Blueprints
24. Work from a plan.
Index the big parts of your work.
25. Learn the difference between reports and stories.
Use one to render information, the other to render experience.
26. Use dialogue as a form of action.
Dialogue advances narrative; quotes delay it.
27. Reveal traits of character.
Show characteristics through scenes, details, and dialogue.
28. Put odd and interesting things next to each other.
Help the reader learn from contrast.
29. Foreshadow dramatic events or powerful conclusions.
Plant important clues early.
30. To generate suspense, use internal cliffhangers.
To propel readers, make them wait.
31. Build your work around a key question.
Good stories need an engine, a question the action answers for the reader.
32. Place gold coins along the path.
Reward the reader with high points, especially in the middle.
33. Repeat, repeat, repeat.
Purposeful repetition links the parts.
34. Write from different cinematic angles.
Turn your notebook into a “camera.”
35. Report and write for scenes.
Then align them in a meaningful sequence.
36. Mix narrative modes.
Combine story forms using the “broken line.”
37. In short pieces of writing, don’t waste a syllable.
Shape shorter works with wit and polish.
38. Prefer archetypes to stereotypes.
Use subtle symbols, not crashing cymbals.
39. Write toward an ending.
Help readers close the circle of meaning.
IV. Useful Habits
40. Draft a mission statement for your work.
To sharpen your learning, write about your writing.
41. Turn procrastination into rehearsal.
Plan and write it first in your head.
42. Do your homework well in advance.
Prepare for the expected — and unexpected.
43. Read for both form and content.
Examine the machinery beneath the text.
44. Save string.
For big projects, save scraps others would toss.
45. Break long projects into parts.
Then assemble the pieces into something whole.
46. Take interest in all crafts that support your work.
To do your best, help others do their best.
47. Recruit your own support group.
Create a corps of helpers for feedback.
48. Limit self-criticism in early drafts.
Turn it loose during revision.
49. Learn from your critics.
Tolerate even unreasonable criticism.
50. Own the tools of your craft.
Build a writing workbench to store your tools.
All of these tips are available via podcast through iTunes.
To purchase a copy of “Writing Tools: 50 Essential Strategies for Every Writer,” visit your local or online bookstore or click here (as an Amazon affiliate, Poynter will receive a small cut of the profit). You can contact the author at: rclark@poynter.org.

Friday, January 20, 2012

The Inevitable path

The current situation: (from Time)
"In other words, by focusing primarily on fiscal austerity and liquidity support, Europe has entered a race to the bottom. The more budgets get cut and taxes go up, the weaker economies become. That makes it harder to meet fiscal targets or stabilize debt, leading to more cutting and tax hikes and even slower growth, and so on and so on. Economies enter recessions (which is already happening across Europe), making reform more difficult and spooking investors, causing borrowing rates to rise and putting more pressure on national finances. It’s a deadly spiral. By simply imposing more rules on fiscal policy – the basis of a German-inspired vision for a more integrated euro zone – Europe’s leaders are setting targets many members can only meet through extensive suffering, and thus, the new drive for reform of the euro zone can make the debt crisis worse, not better. What’s missing in the reform equation is the other side of integration – not just more dictates and rules, but deeper policy coordination to spur growth and help weaker economies. Instead of an “austerity union” now being pursued, the euro zone needs a true fiscal union, one that doesn’t just penalize rule-breakers, but also uses tax and budgetary coordination to assist debt-ridden economies return to health. That could include a “eurobond” or other methods towards at least partial debt consolidation. Along with a beefier bailout fund, the euro zone must engage in policy changes across its members to reduce imbalances and aid less competitive economies find growth."

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