Thursday, February 13, 2014

Are you "grant-ready"?


A  great discussion today emerged in the Grant Writer's Network on Linked In "How do you deal with clients who don't provide you with the detailed information you need to write the grant?"  This comes up a great deal of the time when organizations ask me to write a grant for one of their projects. Normally writing a grant takes me 8-16 hours of work time (depending on the program) and I don't feel good about billing someone for more than 16 hours for any grant, because it just gets expensive for them and it is hard for organizations to understand why a "writing" task could take longer than 2 full work days.  The answer is, "when you don't give me the information I need and I have to repeatedly request information, explain and re-explain what I need, and/or I have to research and create statistics/budgets myself. With some grantwriting tasks I have spent more time emailing the organization's staff with questions and requests than I have working on assuring they have the best possible proposal to submit to a funder. Stressful for me, costly for them.


What should you expect to provide to a grantwriter?


  1. Organizational information: Mission, history, awards, reviews, bios of key staff involved, board list
  2. Project information:  The who, what, where and why of the project
  3. Financial information: Audited financials, current year budget, working project budget 
  4. Support letters from partner organization, or who to contact to get the support letters.
I'd suggest that you keep all the annually updated organizational information in a zipped "organizational information" folder for easy emailing or post the documents in a password secured location for downloading. That will save you a lot of time finding the documents individually.

Project information seems to cause people more difficulty.  If you lack program details you aren't going to be able to effectively raise money.  You cannot wait to "see if you get the money" before finalizing your plan.  Plan your optimal project and contingencies, then you are ready to raise the money!

Friday, November 29, 2013

The Rise of Online Applications

Funders seem to love them.  Grantwriters hate them.  Online application processes.

Balky processes:

Recently I completed a "Celebrate Ontario" grant application on the Grants Ontario website.  In addition to the "One Key" Log on for the Service Ontario site there is now an additional log on process for Grants Ontario.  I waited 48 hours before my log in was sent to me after registration. Once on the site I was presented with two options: Complete the application online or download the form.  Since I couldn't get more than the first page to display online, I chose "download the form", thinking to email the form to collaborators for input.  HOWEVER, the copies generated by the form were locked pdf's and it was impossible to convert the document to Word for collaboration.

I tried uploading it back onto the site but there seemed to be no way to save a draft created offline for online collaboration once the form had been downloaded. Submit was the only option after upload.  It was truly infuriating.


Wasted time:

In order to work collaboratively it was necessary to copy and paste questions one by one into a Word document and then collect responses and copy back into the document.  Why?  What is fundamentally wrong with allowing organizations to easily share working on a document?

While attempting to complete an application for another program using an online fillable form, the site kept timing out and losing my work although it appeared to be functional until I hit the "save" button.

One size fits none:

Is there anything more infuriating than the "Ping" of a locked form when you have reached the end of your character limit?  Because people, organizations and projects are very different, why not allow them to provide more content in some fields and less in another.  Rigid word/character counts distort project descriptions and rob funders of detail.

Security:

But surely online forms are more secure?  I seriously question that assertion. Recently I submitted an application on behalf of an organization, working as a consultant.  I expected that I would have to verify my ability to file an application on behalf of the organization but in fact no such checks were made.  No signature was required and I could have asked that the cheque by made payable to anyone or sent anywhere.  By contrast, old-fashioned paper submissions required multiple organizational signatures.

Wednesday, October 16, 2013

Founders' Syndrome: Why we should all be concerned


What is founder's syndrome and why does it affect so many smaller arts and non-profit organizations? 

Founder's syndrome occurs when a founder of an organization is not able to transition leadership style as the organization matures and grows.  The founder continues to operate in the same manner as he/she did in founding the organization, seeking to personally manage every aspect of a growing organization.

The strong entrepreneurial personality that developed a new organization may be unskilled at or unwilling to delegate. The tireless worker that was willing to pull all-nighters to get in last-minute grant applications may be unable to schedule work or effectively manage their time. The genius that came up with spontaneous project ideas may not be willing to work on long-range plans or within budget guidelines. All of the affects of founder's syndrome results in limiting the growth and effectiveness of organizations and often creates toxic environments for workers, artists, clients. 

We naturally see more of this in smaller organizations because it is such a strong factor in limiting growth.  It is more prevalent in the non-profit sector because while for-profit organizations can be affected by founder's syndrome, market forces exert limiting pressures on poor leadership.  The for-profit company that cannot grow and change often fails while others are forced to change their ways or leadership to remain competitive.  By contrast non-profits are less subject to market forces and may have difficulty discerning reasons for organizational stagnation or failures. Non-profits are governed by unpaid community volunteers who may feel unable to pass judgment on the workings of an organization that is outside their area of expertise and where evaluation may be more qualitative than quantitative. Volunteer Board Members customarily spend little or no time observing the day-to-day workings of the organization. They may also be friends of the Founder and so not impartial.  They may have been convinced by the Founder that any inquiries about management is "meddling". Staff and volunteers in the arts and non-profits tend to be very high-minded and mission-driven.  This results sometimes in a willingness to tolerate a sick work environment in a mis-guided idea that it is "for the good of the cause".

How does Founder's Syndrome develop in organizations?


Founders alone cannot create an organization with Founder's Syndrome.  It takes a step-by-step, person by person tacit agreement to cede power to the Founder by Board Members who should be providing governance to the organization.  It also requires funders, volunteers, staff, colleagues and other stakeholders to decide to continue to support the sick organization or to leave silently. Over the years it there may be numerous loud and clear signals that there is something terribly wrong in the organization but no effective action is taken to address the problem or to provide help to the Founder to assist them in developing a more effective leadership style before they stifle or bring ruin to the organization they founded.

What are the symptoms of founder's syndrome? 

1.  There's a "friends of the founder" Board of Directors.  The founder has recruited the Board of Directors him or herself (normal in the initial stage of an organization) and the Board has never taken over authority for recruiting new members themselves based on the needs of the organization.  Board members are vetted by the founder and Board Members that try to counter the Founder's wishes are quickly ejected.  The Board sees their role as supporting the work of the founder rather than stewardship of the organization's Mission and sound governance of the organization's work and resources. 
2.  Decision-making within the organization is all controlled by the founder.  Staff either don't know what's going on or plans suddenly get de-railed by a decision of the founder.  Ideas that come from elsewhere than the Founder don't go very far.  Staff become discouraged about offering innovative ideas, stop being pro-active and may even be afraid of the founder. 
3.  Organizational information such as newsletters and brochures contain a lot of information about the founder: personal letters from the founder to supporters, news of the founder's awards, achievements, pet projects. Board members and staff seem oddly uninformed about the details of project plans, budgets, and any results or evaluation.  Staff cannot articulate processes, statistics or evaluation methods. 
4. The founder often talks about "my vision, my program, my goals" rather than "our goals".  When asked about rationale for methods it is not unusual to hear, "we have always done X" or "I believe it is best to do Y".  There is no process for new ideas and methods to be introduced. 
5. There is a resistance to any changes that might create a real or perceived loss of control, e.g. a founder that is uncomfortable with technology will resist the implementation of a user-friendly website that a staff member might be able to create and manage because she/he will feel unable to control the content. 
6. Information hording can occur because information is power. The more threatened a founder is by a staff member, the less likely the founder will be in sharing information with that staff member.

What are the options for an organization with Founder's Syndrome?


1.  If the Founder recognizes the problem, get them help through professional leadership counselling.
2.  If the Founder does not recognize the problem you'll need buy-in from more than one organizational level to effect change.  Without support from Board, Staff, and Funders you will not be likely to succeed.  Staff driven efforts alone result in Board backed firings that can ruin careers and even the health of staff members summarily dismissed for the efforts to alert the Board to the dysfunction.  Board-driven change processes that lackstaff and funder buy-in can result in funding cuts, and/or sabotage at the staff level and ultimately Board fatigue, resignations, replacements. Funder led calls for reform without organizational support can result in financial hits for the organization but no real change. The organization will find new funding partners or fail, but will be unlikely to effect real change to suit a funder unless there is recognition of a problem.

What are the implications for staff employed in an organization with Founder's Syndrome? 


1. Recognize that you are in a very challenging environment and you may not be able to effect change.  Go easy on yourself.
2.  Consider your options and prepare your exit strategy even before it's necessary.
3.  It is unwise to try to effect change in the organization unless there is a Board initiated effort for organizational change.
4.  If you elect to stay in the organization focus on small goals or achievements within your area of responsibility with minimal opportunities for friction with the Founder.
5.  If you choose to whistle-blow, be prepared for a very difficult time and possibly lasting career damage. It might be personally advantageous to simply resign.
6.  Work within the non-profit sector to promote awareness of this problem and protections for workers.



Friday, July 12, 2013

Is it time for some "rules of the sidewalk"?

We all have to learn and obey the rules of the road when we drive a car, motorbike, or even venture on the roadway with a bicycle.  But who sets the rules for pedestrian thoroughfares: sidewalks, malls, escalators, stairways, hiking trails?  Some days it feels like a free-for-all out there and it is getting dangerous.


Slower traffic bears to the right:
A near accident a couple of days ago started me thinking about this.  On a busy downtown sidewalk I heard someone walking rapidly behind me.  Being a polite person, I did what I have been trained to do my whole life: I politely stepped to the right to let the person in a hurry pass me.  Engrained in my sense of how the world works is that slower traffic stays to the right and faster traffic passes on the left.  Because this individual decided to pass on the right instead, I unintentionally shoulder checked her into King Street where she could have easily been hit by a passing car. If you try to pass people on the sidewalk on their right, this kind of accident is going to happen.

Stay in your lane:
On the roadway we know that we have to stay in our lane and that traffic is two-way unless signed otherwise.  In rush hour that often means that lanes going one-way are crowded while the roadway on the other side is empty.  However car drivers do not see that as a licence to drive all over the road. Yet the same people when exiting the subway decide that they can walk up both sides of stair-wells and make it difficult and dangerous for the fewer number of individuals going in the opposite direction.I have sometimes shouted out, "hey two-way traffic stairwell, bear right" as I have wrestled my way down the King Street station stairwell. As someone who lives in downtown, I often find myself commuting against the flow of traffic.

Who belongs on the sidewalk?:
Pedestrian routes are for pedestrians.  No wheeled vehicle, apart from mobility devices has a place on the sidewalk.  I had someone on a bicycle justify their presence on the sidewalk on the basis of walking a dog from bicycle!  There's so many things wrong with that it left me sputtering. With motorized wheelchairs and scooters sharing our walkways, seems like we need some rules about how fast these devices travel. No mobility device should be moving on a congested sidewalk or other public space faster than pedestrians. Increasingly I see mobility scooters traveling at reckless speeds on sidewalks, in malls and in shopping centres.

Shared pathways and trails
Again, keep in your own lane and slower traffic bears to the right helps prevent a lot of accidents. Bicycles on shared pathways need to slowdown and make sure the people they are passing are aware of their presence and are not going to step out into your path.  You shouldn't think that just because you have pinged a bell or a horn that the pedestrian has heard you.  Between Ipods and hearing impairment you can't be sure until that pedestrian steps aside and you have eye-contact.


Monday, February 04, 2013

Critics At Large: Inspired Flight: Cylla von Tiedemann's What Dances...

"What Dances in Between, the title given to Toronto-based photographer Cylla von Tiedemann’s exhibition of dance images at the Al Green Gallery through February 9, captures the essence of the quasi-retrospective as having no strict beginning or end: a creative journey that, like the dancers in her kinetically charged photographs, is caught in mid-flight." 

Critics At Large: Inspired Flight: Cylla von Tiedemann's What Dances...: Fire Bird, by Cylla von Tiedemann (Ink Jet Print, 2012, 22” X 33” Dancer’s name: Anastasia Shivrina) What Dances in Between , the ti...

(Presentation) Arts Presentation Contracts

Wednesday, October 10, 2012

"I'm Not the Indian you are thinking about" at Harbourfront

Michael Crabb reports today in the Toronto Star on "I'm Not the Indian you are thinking about" from Red Sky.

Since I first worked with Sandra and Carlos at Red Sky in 2003 on "Caribou Song" while serving as General Manager at Soundstreams Canada, I have admired their choice in projects and their voice in Canada in dispelling stereotypes about native people.

There is actually a lot of vested interests on both sides in keeping those stereotypes alive but until we move past them we really can't have understanding nor begin to work together on the social justice problems that we'd all like to see addressed effectively.


Wednesday, September 12, 2012

Note to Factory Theatre Board: Please reinstate Ken Gass and stop the foolishness

UPDATED: After a prolonged and unsettling out-pouring of outrage, Ken made an announcement that he believed the theatre needed to move on under new leadership.

I only came across this news (don't know how I missed it) when I saw Ken Gass's job posted on Work in Culture and wondered what the story was, had he retired, or whatever.

I just signed the petition in support of re-instating Ken. I first met Ken when I was a theatre student and a play I wrote was selected for one of Factory's reading nights at the old JCC. At one point I was shortlisted to work with him as General Manager at the theatre and we hit it off famously and stayed in touch. I regret that I didn't get the job but couldn't argue with the fact that I had only a small amount of experience with facility management and the building renovations were most important at that juncture. Whatever one thinks of his particular merits, there is a more important issue:  Arts Boards in Toronto need to be told that the arts public does NOT want them to treat dedicated arts leaders and staff in this fashion. Arts organizations are not US corporations and we should not be sending our arts leaders to the door with their belongings in a shoebox.

Here's some press:

Change.org|How to Start a Petition
by Steve Kupferman, NATIONAL POST 

"Artistic icons weigh in on Factory fallout"
by Glenn Sumi, NOW MAGAZINE
"Factory Theatre boycott: Michel Marc Bouchard pulls his play"
by Richard Ouzounian, TORONTO STAR
“Playing at Small Theatres- The Handyman Special”
by Kate Taylor, GLOBE & MAIL
“Factory Theatre founder Ken Gass pursuing legal action against board”
by Richard Ouzounian, TORONTO STAR
"Playwrights Judith Thompson, George F. Walker and others seek boycott of Factory Theatre"
by Richard Ouzounian, TORONTO STAR

"When should a board fire itself"
by Jini Stolk, CREATIVE TRUST
"Petition urges reinstatement of Ken Gass at Factory Theatre"
by Richard Ouzounian, TORONTO STAR
"Why many are calling for Factory Theatre's board to resign"
by Steve Fisher, THE TORONTOIST

"Petition calls for reinstatement of Ken Gass, resignation of theatre board"
by Kelly Nestruck, GLOBE & MAIL

"Gass' dismissal from Factory shocks Toronto theatre world"
by Kelly Nestruck, GLOBE & MAIL

"Factory Theatre dispute far from over" Toronto Star

Tuesday, July 03, 2012

Delegation # 1: Why managers are afraid of delegating.

The first in a small series on the management art of effective delegation.

When you talk to unhappy employees and ask them what is wrong with their jobs or their relationship with managers,  the leading issue is usually poor delegation techniques.  In the arts and non-profits we are often working as managers having no business training in supervisory management and as employees we are working with bosses who may be wonderful in their fields but don't know the first thing about managing people.

Why do so many managers fear and avoid delegation?

# 1.  Fear of loss of control.The inexperienced and insecure manager is afraid that if they don't do everything themselves things will spin out of control and they will lose authority to shape projects.  Let's examine this fear:


  • If you recognize this as your own fear as a manager, remember that you have the power to require employees to check in with you, report progress, and you can set the schedule for completion of stages in a project to build in time for edits and tweaks you feel are needed.
  • Delegate from a sense of your own power and your fears will fade

# 2.  Fear/Dislike of employees stealing credit or sharing the limelight.  

Let's look hard at this fear:
  • Just as your organizations failures ultimately reflect on you as a manager, so do the successes
  • A part of maturing as a manager and human being is learning to enjoy your new role as a mentor to a new crop of professionals.  Their successes are your successes.
  • If an employee truly tries to steal credit or becomes unduly competitive, that is a separate issue that you can deal with, ultimately you have the power to fire them so why be bothered by small expressions of ego?

#3.  Don't feel you have time to teach employees how to do the delegated work or supervise them:

  • If you are feeling time crunched, only effective delegation will get work off your desk so a small hump of extra work will pay off in the long run
  • Part of delegating the task can be assigning the employee to job-shadow, read, take a course, do online tutorials to acquire skills.  You don' t have to take on all the training yourself. 
  • While a lot of supervision might be needed the first time an employee takes on a job, it will decrease markedly the next time. 
  • Delegation and supervision IS your job as a manager.  Likely all the work on your desk is really not your job and needs to be delegated. 

 #4  Worry that your employees will make mistakes, use methods you don't approve of, generally goof up something.


  • Employees will make mistakes and that is a part of learning.
  • Planning for training and supervision and scheduling to allow for error correction is part of your job as a manager and part of your effective delegation strategy.
 When you feel these fears coming on (and we all have them as managers) remember the gains that will come to you as an effective delegator.  You will develop happy, productive employees who not only think for themselves but regard you as an effective mentor and supervisor, someone they can go to for advice without fearing their project will be yanked away from them.  You will be enhancing your own reputation and chance of advancement.  You'll free up time for your own innovative, non-routine tasks which require your unique expertise.

Wednesday, June 27, 2012

Boundaries, clock-watching and values-based management

Consider this scenario that is acted out in workplaces every day:

You need to leave on time for once because of family plans. It's busy at work and your boss says, "Well I don't know about you, but I've always been the sort of person who doesn't watch the clock at work because I prefer to just get the work done". It stings because your self-image has always been that of a hard-worker but there is nothing in the current situation or workplace that motivates you to stay late.  What has changed?  Is it you?  Is it the job?

Getting to understand your own values helps to answer with confidence about the balance you have between commitments to work and to other parts of your life and what you need in order to give more time to work.  As a manager, knowing your employees values helps you negotiate for the flexibility and extra effort you may need for a project.

Understanding what are core expectations for your position is the starting point. While you might have regular work hours, some contracts have language that requires a flexible schedule or extra hours in peak periods. It is only when we are asked to exceed the language in our agreement that we need to consider where our boundaries lie. While we like to give ourselves labels like "dedicated", healthy individuals have limits about the amount and type of work they are willing to do on their own time and the conditions under which they find it reasonable to put in extra hours. If you don't know your own priorities you could find yourself agreeing to work you'll resent or saying "no" to an opportunity that might be congruent with your goals. Neither of these outcomes is good for you or the workplace.

What motivates you to take work home, put in hours over the weekend, or stay late to finish a project? For me I know that I will volunteer to work on projects that involve learning new skills that are congruent with my goals and interests. I'll also burn the midnight oil for a project that I'm given ownership of that I can add to my resume folder in future. Affirmation goes a long way with me also. Even if there is nothing in it for me, I'll do extras when I feel appreciated.

As a manager, you need to know what your employees value and use that understanding to motivate appropriately.  This is a part of values-based management.

  • Employees motivated by financial security will go the extra mile for raises, promotions, contract renewal
  • Employees with a thirst for learning will be motivated by staff training or time for taking on new work with steep learning curves
  • Those with interests outside of work, family, hobbies, enjoying nature will be motivated by time-off in lieu of overtime hours
  • Praise, recognition, and simple thank-yous motivate most of us, but are often the most neglected motivational tool in the management toolbox. 

Friday, February 17, 2012

New animation from Prashant Miranda

In memory of the northern Red Oak is a simple, evocative and transformative piece of art, and that's really typical of what Prash does in art. Here's the film. Prash can be found at http://Prashart.blogspot.com

Sunday, February 12, 2012

Writing Grant Proposals as a Team

Recently I realized that my article "Grantwriting Basics" had less detail on grantwriting in a team than I remembered, whether through editing or never getting around to all of the content in my mind. Here’s an expansion for those of you writing in a team environment, something that I find I do about 50 % of the time. By team grant-writing I mean situations in which key parts of the grant are written by others and editing and changes to the document are done collectively.

Grantwriting in a Team Environment

Grants written with a collaborative team are usually stronger, more realistic and tied to the real activities and history of the organization and provide opportunities for team-building. Grants written with a collaborative team can also be among the most frustrating and time-wasting of activities if there is no plan for the collaboration and team members don’t adequately understand their roles.

Why write a grant collaboratively?

  1. Capitalize on multiple talents
  2. Get multiple viewpoints
  3. Increase organizational and/or partnership buy in to the project proposal
There are four key steps to ensuring a successful collaborative grantwriting process:

  1. Define roles
  2. Choose the team
  3. Chart a realistic timeline
  4. Choose tools

TEAM ROLES:

NOTE: Many times one individual is responsible for more than one role in grantwriting, but it is useful to break down the roles to understand all areas of responsibility. For most grants the roles include:

1. The Grant Lead: This is the person, often referred to as “the grant developer” who is delegated responsibility for team leadership on the grant. They define the process, assign grant tasks, manage the timeline and are ultimately responsible for declaring when grant components are final. They may or may not be the actual grant-writer.

2. Grant Researcher: This role requires someone with skills and experience in researching funding bodies and (if applicable) expertise with the fundraising database used by your organization. They identify funding programs with high relevance to the activities of the organization.

3. The Grant Analyst: This role requires someone able to summarize the grant requirements and provide the information to key individuals within the organization for decision-making about whether and how to proceed and to set out key requirements needed to be met (such as signed contracts).

4. The Organizational Historian/Fact-checker: This role provides up to date content on organizational history, mission, projects, as well as needed documents such as board lists, audited financial statements, incorporation papers, photos, biographies/profiles of team members and partner organizations.

5. The Needs Manager/Project Rationale Researcher: This role is able to research the “need” that the project addresses whether it is a need in the community or an organizational need. Articulating the need is important to making a case for the relevance of your project (whether the application asks you to answer questions about needs or not).

6. The Grant Writer: This is the individual who takes all content provided and crafts it into a coherent argument that is presented with one voice through the document. They are ultimately responsible for style, grammar, format.

7. The Collaboration Organizer: This role is responsible for the nitty-gritty of the collaborative effort, sending invitations to team members, organizing meetings according to time-line, chasing people for content, and tracking the receipt of all needed materials, signatures, support letters, etc.

THE GRANTWRITING TEAM:

While above, I have defined the ROLES needed within a grant-writing process, one team member will likely assume more than one of the roles. Your grantwriting team may be 2 people or 20 people (or more). Most grants involve 2-4 key contributors with some input from stakeholders. Who you choose for your team depends on your organization and the nature of the application. While you typically would want only one person assigned to some roles (such as project leader and/or lead writer), others can be performed by teams (such as researching community needs or literature surveys, getting equipment quotes).

KEY SKILLS:

The skills you need to assure are on your team include:

1. A professional within the organization who has key insight in the organization’s history, goals, and able to speak to the nature and importance of the key points of the proposal.

2. A grantwriting professional who is skilled in researching funding opportunities in tune with organizational needs

3. A budget specialist able to craft a realistic project budget and answer financial questions about organizational finances

4. Writer/editor who will be the “voice” of the grant--responsible for the tone, grammar and persuasive language of the grant

Unless one person has ALL of the skills above, you need to develop a team however small! If you are the Grant Lead--taking into account both the roles needed in the grant and the list of key skills--consider who will make up your team. Following the rules for good delegation, you will need to assure that team members understand their role(s) on the team as well as the role of others. Each team member must have the tools and resources needed to perform the tasks (time, materials, budget) and the authority (existing or clearly delegated) to successfully fulfill their role.

TIMELINE:

Chart your timelines with key points for completion of stages of grant development through a work back schedule from the due date with full understanding of that due date which can vary from “postmarked by X date” to “must be in our hands by 5 pm on the due date”. While generally the earlier the better, a too early start date can undermine any sense of urgency about the work and lead to procrastination and dropped balls. Likewise some RFP have tight timelines that mean that intensive work will be unavoidable.

Generally the charting done by an experienced Grant Lead will look like this:


By making your first draft completion date far enough in advance, you can allow for a second round of commenting and revision if necessary or if the project gets behind schedule due to external factors or difficulties in obtaining all information needed, you can forgo this step.

TOOLS FOR COLLABORATION:

Do you need special tools for collaboration? Not necessarily. It depends on your team, process and proximity. If a grant is being written by one person who edits submitted content and incorporates 2-3 team members content and comments (the majority of grant-writing scenarios) no special tools are needed. Emails, word documents or notes written on a table napkin, will all be incorporated by one individual into a master document that is not available for editing by anyone else. No tools beyond a word processor needed.

Where it gets dicey is where multiple individuals are working on writing/editing sections of the grant collaboratively (and there has to be a strong rationale for this approach). Here version management becomes difficult and if there is no system in place, valuable content can be erased by a contributor who lacks the big picture. The grantwriter has started by organizing content into paragraphs dedicated to single ideas, ensuring that all building blocks are in place over the entirety of the grant. This can become lost as new writers add irrelevant details to paragraphs unaware those ideas are stated later, or in a different section of the application that they may not have in front of them. Simply tracking the revisions becomes a chore. Take this as an example: Susan has written the first draft of a project timeline that outlines a series of workshops. She sends it out simultaneously to Sandra and Kevin by email. Sandra gets back to Susan first with her revision and has added 2 workshops to the list. Kevin (working on the original document) adds one workshop. If Susan saves the most recent edit (Kevin’s) as final, she will not have incorporated Sandra’s input. So how will this be avoided without adding hours of pouring over revisions with a fine tooth-comb?

The need for a unified voice and coherence within the full application dictates that:

  1. The process for editing needs to be clearly articulated
  2. There needs to be a start and end point to edits (a date where no more edits will be received and the key writer will consolidate).
  3. A system or tool for tracking versions must be decided on and used by all contributers
  4. The final edit must be done by one person assuring a single voice and coherent thread.

MS Word “Track Changes”:

When two or three editors work on a document and only one or two revisions are anticipated, the tools within Word for tracking changes, emailed back and forth will likely be sufficient to the team’s needs, provided they agree on version labeling and documents are not sent to multiple editors at one time without the knowledge of the key writer. The key writer needs to know which version of the document the edit is based on to not lose content previously submitted.

The drawback of “track changes” with multiple edits and editors is that the document becomes unreadable unless the revisions are hidden by selecting “show final”, however in that view content crossed out by one editor which may be necessary and need to be restored can be lost.

Google Docs

Google docs are similar to MS Word’s track changes in look and feel. The advantage of using Google docs is that two people cannot work on the document at the same time so that the most recently saved document is always based upon the work of all previous contributors.

Wikis

Wikis were developed specifically for collaborative writing and allow team-members to look at all version histories. Within a wiki, it is easy to roll back to a prior version or ensure content is not lost. There are a number of free wiki spaces available online and using wiki tools are highly recommended where team-writing for sections of a grant involve three or more people and or is anticipated to involve more than two rounds of editing. My favorite wiki spaces include: http://www.wikispaces.com/ and http://pbworks.com/

Proximity (a collaborative tool we sometimes forget):

Grant-writing teams seldom go off the rails when collaborators work in the same office space and work the same days/shifts. When they do not, it is important to be able to simulate the good synergy effects of proximity. Wiki tools help with this. Meetings, web conferencing, shared Skype calls, and even meeting virtually in online environments can avoid the pitfalls that occur when collaborators feel they are working in a vacuum at some points and are surprised by input from other team members at other points.

Symptoms of failed collaborative grantwriting:

Reluctance to contribute in a timely fashion: One of the leading signs of a process that is failing is the hording of information and avoidance of content sharing until the last moment of a grant deadline. People do this as a defense when they feel that earlier input will be lost or be subject to so many revisions that it will add to the time they will actually be required to spend on grant-writing. "Why contribute now, it will only have to re-done 10 times?"

Lost or confused content: Editors are simultaneously working on the same document making tracking versions difficult to impossible. "I'm sure we had something in here about X in an earlier version. Where did it go?" The wrong tools are being used for collaborative writing.

Surprises and conflicts: "Why are you working on X? I've already done it!" The team and roles were not clearly defined.

Loss of engagement by project and/or writing lead: You send your lead writer comments and edits galore and they stop responding. There's likely a timeline problem. The editing process needs to have a clear end-point so that final draft can be constructed. Grantwriters who are unsure of when they are needed for final edits may be reluctant to contribute until they are sure the dust has settled to avoid wasting their time.

Lack of consistent voice and format in final grant: Editing and commenting has not been terminated with enough time for grantwriter to polish and format or grantwriter has not been correctly delegated authority to override edits that are off message.

Lastly take this quiz

  1. We always have organizational buy-in for our grant-writing before we begin. Yes/No

  1. Our grant team all know their own roles and responsibilities. Yes/No

  1. All team members know from the outset who will contributing and how. Yes/No

  1. Our grant process has a defined time-line for key steps. Yes/No

  1. Our tools match the number of collaborators we are involving. Yes/No

  1. We work in close proximity or have plans for meeting/conferencing as needed. Yes/No

  1. We have no difficulty tracking revisions to grants. Yes/No

  1. We are never surprised at the last minute by missing documentation or signatures. Yes/No

  1. Team members contribute on schedule with confidence their input will not be lost. Yes/No

  1. Grant proposals have a unified voice and a coherent argument on completion. Yes/No

SCORING:

Give yourself a point for all your “yes” answers.

A perfect 10: Where do I apply to work for you as a grant-writer? Great going.

7 to 9: You are like most organizations, doing most things correctly but there’s probably just one area where you could avoid conflict and time wasting if you planned a little better.

4 to 6: You are probably experiencing some staff stress or even conflict. You may be wasting time and energy due to duplication of work by people not understanding their roles and/or doing intensive last-minute grant-writing due to lack of pacing.

Less than 4: Grant-writing collaboratively is either very new to your organization or has become a huge trial that your staff members view with dread. They react with either avoidance/delay strategies or by jockeying for position when a grant-writing task is announced. The process is likely always contentious and the results are worse than if one person completes the grant leading you to feel it is better you do it yourself. (Most of us have been there.) Consider, if you feel this way, whether your team really lacks the skills or whether the process is at fault.

Friday, November 18, 2011

December 1 & 2 Creative Works Studio Annual Exhibition

If you care deeply about access to the arts as I do and also support diversity of voices in the arts you'll want to come out and support a community of artists that are finding healing through art--even as they share their vision of our city with anyone who is able to make time and come out to view the art and meet the artists.

It will make you feel great!


TORONTO TREASURES

Creative Works Studio features new works at our Toronto Treasures Art Exhibit. We will also launch our 2012 art calendar, The Blues, which will be available for sale at the gallery. www.creativeworks-studio.ca

The Creative Works Studio, is an occupational therapy arts based community program that helps individuals living with mental health challenges heal and cope through the power of artistic expression. It is part of St. Michael Hospital's Inner City Health Program and operates in partnership with the Good Shepherd.The studio believes in public education to reduce stigmatization.

THANKS TO OUR PATRONS:The Al Green Gallery, Boome Canadian Graphics, CIHR-Canadian Istitute of Health Research, TD Canada Trust, The W. Garfield Weston Foundation, Lundbeck, Ontario Arts Council, ShaRna Foundation, Toronto Arts Council, Long and McQuade, Dimensions Custom Framing & Gallery.

Sunday, November 13, 2011

Silverberg Art Showing at Sage Cafe on McCaul


Jerry Silverberg
SAGE CAFE - 166 McCaul (north of Dundas - just around the corner from the AGO)
So after seeing Chagall as the main course come and have some desert of art and cakes at Sage.
The show runs until the end of December.
Sage hours - 9am - 5pm , 7 days a week.- Best viewing times 9 - 12 and 1:30 - 5.

Wednesday, November 09, 2011

Happy Birthday, Dorothy Day


"Food for the body is not enough. There must be food for the soul."


Sunday, November 06, 2011

Clay and Paper Theatre's "Night of Dread"



"Oh look, we can PARTICIPATE", exclaimed a young mom to her partner and children as they arrived at the launch point of Clay and Paper's annual "Night of Dread" event that began and ended at Dufferin Grove Park in Toronto. Volunteers helped the family outfit themselves with masks from the theatre's assembled accessories available for sign out. Participation proved to be but one of the extraordinary components of this community arts event.

Halloween has always seemed to me a bit of a difficult holiday in modern times. Most of us no longer believe in ghoulies and ghosties and things that go bump in the night. We feel guilty as parents about scaring our kids with superstition. Besides, aren't there enough horrors in the world? When we think "okay, let's dress up in more fanciful, happy clothes" we run into another set of dilemmas.

"A fairy princess?"

"No, no, too sexist! Gender stereo-typing, that will never do!"

"A belly-dancer? An Indian brave?"

"No, no! Cultural appropriation! What will the neighbours think!"

And what about the whole thing of "trick or treating"? In a time when so many children are overweight, we know the dangers of high carbohydrate loads on the whole system, not to mention tooth decay, do we want our kids super sugar-loaded. We fear for their safety on dark streets at night. It's just hard to celebrate the tradition anymore.

How do we update this late autumn holiday in a way that is meaningful to modern times without causing the wincing feeling that we are going against our core values or exposing our children to harms of various sorts? Clay and Paper Theatre has crafted an annual event that keeps the core components of Halloween, while avoiding all of the baggage. Their creativity has resulted in a new celebration in harmony with the season and our actual lives.

Halloween is a festival for a time when the days are becoming darker and primitive people might have worried that the sun was dying. It is a time of fears and shadows. Some of the oldest civilizations had traditions of building fires on hillsides to feed the sun and wearing disguises to fool malevolent spirits.

In our modern world there are shadows of fears that haunt all of us in our dark moments. Near the gardens in Dufferin Grove Park, Clay and Paper Theatre had set up a garden of fears. Economically (and humorously) using pizza boxes on sticks, they had emblazoned the boxes with modern fears: nuclear annihilation, global warming, bio-hazards, isolation, losing a home, bankruptcy, financial ruin, war... and so on. What a fantastic opportunity for family dialogue as people moved about the garden of fears and chose which fear to pluck from the garden and carry in the parade as representative of that individuals worst fear this year.

Masks were black and white papier mache creations that, to me, symbolized the dark and light in all of us, in the changing seasons and our world. Walking about among us as we selected our fears to carry and our black & white masks to wear (if we chose to wear a mask) were a collection of giant puppets representing some of our fears. I was struck in the gut by the representation of pollution. She was a giant blue puppet with a serenely beautiful appearing face and flowing blue silken fabric, horrendously littered with bits of plastic garbage bags and excretions of fast food containers, drink cups, plastic water bottles and straws. Some of the huge puppets were a bit more mysterious and we didn't quite know what they were representing until the end of the event.

A bugle call and drum roll signaled the assembly of the march and about 1,000 people or more set out following as we paraded our fears through the streets of Toronto. It was interesting to watch the faces of the people who came out of houses and stores to watch the passing march. Some were delighted and seemed to know what to expect. Others were extremely puzzled, even a little worried. It was a long enough route that children were wanting to be carried by the end of the journey so families with young kids are advised that a stroller or wagon will likely be required at some point in the trek.

Back at the Dufferin Grove Park we walked along a path of shrines. This lacked any explanation but it seemed to me that they were shrines erected to things lost in the past, a loved pet, a farm. Made from the simplest of materials they were reminiscent of Day of the Dead shrines built on grave sites.

We walked towards a bonfire in the middle of a circle of people. Here the fears we had carried through the dark night streets were burnt in a warming sacrificial fire. The crowd cheered the burning of the fears. The giant puppets representing major fears like "Corruption & Greed" "Nuclear Annihilation" were introduced as they did their final macabre dance around the fire. With a fanfare of humorously discordant circus music, the "Fear of the Year" was introduced. In this year's case that was "The fear of selfish leadership" represented here in Toronto appropriately by a giant gravy boat. The artistic reference was to our hapless Mayor Ford who promised to save billions from the city budget by cutting the "gravy" and then his hired consultants couldn't find any such gravy. His attempts to instead define libraries and culture as gravy have met strong citizen opposition. The gravy boat was taken on a last lurching voyage. The responsive creativity of the team at Clay and Paper Theatre added a last minute touch drawn from the latest headlines as a Margaret Delahunty lookalike pursued the gravy boat on it's final voyage to the fire. A great cheer rose up from the crowd as the final great fear went up in a tower of flame.

Death dancers waltzed around the bonfire as our fears burned. Only the fear of death which can never totally leave us remained alive. The figures of death beckoned to the crowd to come and dance with death. The message to my understanding was that only when we learn to dance with death are we truly alive. The circle of dark and light, yin and yang came into focus in this conclusion, sombre, meditative and graceful. Then exploded into light with fire twirlers and jugglers harking back to a primitive time where warmth and light drove away the terrors of winter and darkness.

What a wonderful achievement and gift to the people of Toronto. My one and only suggestion to the creative team is that they lost people at the conclusion due to the length of the march. It was a very cold night, so that was also a factor. Some great entertainment was available at the end and I would have liked to stay and dance but like many others I was freezing and very tired so we packed up at the conclusion of the fire twirlers.

Wednesday, October 26, 2011

Clay & Paper's Night of Dread Oct. 29

Night of Dread

Dufferin Grove Park
Saturday, October 29, 2011

4-6PM: Gathering

6PM: Parade

7:15PM - Fire Circle

Learn the fire circle chant:

"We laugh at fear, And we laugh at death, And we'll laugh at you, 'Til our very last breath, Ha ha ha ha ha ha ha!"

8:30PM: Celebration with Lemon Bucket Orkestra

Dress Code: Black & White & Dreadful

Pay-What-You-Can/ $10 Suggested Donation

www.clayandpapertheatre.org


Monday, October 24, 2011

Speaking up on behalf of aboriginal children

Today the Winnepeg Free Press reported that "Child rights' advocates are hoping to shame the federal government into improving the treatment of aboriginal children.The First Nations Child and Family Caring Society of Canada and the ecumenical group KAIROS are asking the United Nations to ensure that Ottawa gives the same services to aboriginal children as it does to other Canadians.

In a report prepared for the United Nations committee on the rights of the child, the groups say government funding for health, education and child welfare is much lower on reserves than off.

As a result, they say native kids often lack the basic necessities of life.

They point out that Canada signed the United Nations Convention on the Rights of the Child and its performance is under review right now."

When I served on the Lieutenant Governor's Steering Committee on Aboriginal literacy, I saw first hand the problems faced by Canada's First Nations children. One of the first things I learned was that money was only a part of the problem. The fact that funding lags behind educational and social welfare funding for children in the rest of the province is a crime that must be addressed but in order for those dollars to be targeted and used accountably, there has to be an untangling of bureaucratic snarls and more transparency.

One of the truths that I came to understand while meeting with representatives of band councils while developing the first summer literacy day camps, and spending last season working with Equay-wuk (Women's Circle) is that liberal white guilt about children's welfare in First Nations colludes with right-wing priorities to result in a "do-nothing" outcome. Well-meaning child welfare advocates too often allow themselves to be silenced because they feel that as white people, they cannot address First Nations issues, even when they know that education or child welfare dollars are not being used effectively in a community. There is not one set of problems with children's welfare in First Nations communities. Because these communities are self-governing, the picture differs from community from community and it is important for decision-makers and social justice advocates to understand that it is not a "one-size fits all" solution. It is messy and complex and if we care about justice for these children we have to be prepared to listen and also be prepared to speak out.

Sometimes it takes more than a village to raise a child when that village is failing the child. Sometimes it takes a nation to care and not to be silenced because of some ancient mistakes made by some of our ancestors.

Friday, October 21, 2011

Virtual Beading Circle

Fantastic use of the internet to share craft knowledge across distances.