DIY Performance Series #3: 'Brother Can You Spare a Dime??'
‘If you really want something, and really work hard, and take advantage of opportunities, and never give up, you will find a way.”
--Jane Goodall (b. 1934)
Welcome back to Part 3 in my DIY Performance Series!
Today we’re going to talk about something that nobody wants to talk about: money.
Specifically, we are going to discuss budgeting, its necessity to any successful production, and the various creative ways I’ve found to finance my own DIY productions.
I know, I know, this is the Debbie Downer topic of DIY art. Everyone always gets excited thinking about DIY performance logistics, but nobody wants to get stuck holding the purse. DIY productions are, in essence, entirely up to you---which means the funding to pay for them isn’t going to materialize out of thin air. Just like you worked hard to create your production, you’re going to have to work just as hard to ensure it’s got financial backing. Funding an entire production or project isn’t usually something that one donor can do alone--so unless you’re fortunate enough to have a trust fund tied to your name, you’re not going to be able to personally fund your production either, not without going broke. Outside sourcing is ESSENTIAL to a production’s success, and it’s often the most frustrating. If you’re starting to feel overwhelmed, remember that lone artists have historically raised the funds to make their careers throughout history--so if some formally-uneducated guy sporting a codpiece in 14th century Italy could do this, YOU CAN TOO!!!. Of course, there are some things to consider as you mastermind a financial strategy that will help you sustainably bring your art to your community, both now and in the future.
Disclaimer: Please keep in mind that, as resourceful as I am, I am in NO WAY a formally-educated financial planner. The resources listed are definitely not the only resources out there--I HIGHLY suggest you take some time to research, explore and investigate on your own. There are often untapped wells of resources out there, just begging for someone to utilize them!
My first rule of DIY art is: Always plan for the worst. Productions and projects are essentially the Chaos Theory in action: if something can go wrong, it will. The Unknown always seems to occur, and costs can quickly compound without your realizing it. Somehow, you’re going to have to find a way to pad enough funding into your budget to count on a series of unfortunate events. And speaking of budgers... DIY art rule number two is: Always apply for more funding that you believe you will need. Grants and artistic awards are a lovely and yet completely unreliable source of funding. Winning financial awards can often feel like a never ending chase after a mythical being. Assume that you will not receive 80% of the funding you apply for (refer to Rule #1)--it’s always better to discover you have won everything and now have too much money rather than too little. DIY art rule number three: Organization is absolutely key to financial survival. If you’re chasing grants, you’re going to have a lot of extra requirements to fulfill...and multiple grants means multiple requirements. You’re going to have to discover your own system of keeping track of all of the various deadlines, required documents and financial information (I personally use Google’s version of Excell for EVERYTHING).
SO--let’s get organized! The first thing you’re going to have to do is to gather some materials together which support your project. A few key pieces of information to prep before you get started should include a formal Project Narrative, a financial Expense Outline, and a Bio/Artist’s Statement. These form the base of any grant or financial award application, and are also useful for sending out to potential donors or business partnerships for your project. They basically tell everyone out the who, what, where, when, and how much of your project.
Project Narrative: This is basically a one stop, highly-detailed and descriptive outline of your project/production in general. After reading this one document, a person should be able to clearly see who, what, where, when, and how their money will be used. This is where you can describe your reasoning behind your project, the participants involved, its historical significance, the value it will bring to the community, the social issue it will address, etc. You also want to include a numerical value that reflects the total estimate of your project’s endeavor. Vagueness can come off as uncertainty, which is financial death; nobody wants to fund someone who hasn’t got their shit together. When in doubt, provide too much detail rather than too little! Depending on the project in question, requirements can vary, but consider including:
-a detailed description of your project ( Is it a single piece, or many? Do you have composer/librettist/playwright/whatever names, the date the piece originated from, and a brief description of the plot?)
-scheduled dates the project/production
- your role in the project
- the names of any companies or individuals who will be participating and a brief bio (one or two sentences at most that highlight major achievements or awards)
-your project’s target audience (such as in cases of educational outreach) and a description of that audience
-promotion and distribution tactics (How will the activity will be promoted and marketed to the targeted audience? Will it be distributed, such as via a live stream or a recording? If so, how will you distribute it in a way that ensures it will reach your targeted audience?)
-venue description (Perhaps your project is site-specific; if so, now is the perfect time to highlight that aspect! Have you already booked the venue you’re wanting to use? If so, can you provide details about your venue, including a website (pictures are extremely powerful), or describe how it is crucial to your project?)
-projected timeline (Do you have a timeline laid out, with a clear start and end date, and with specific dates for specific tasks to be completed (including the public release or presentation)?
This is the amount of detail necessary to catch the attention of a potential donor/backer. While portions of this may seem obvious to you, a professional, you should always assume that your reader has no background in performing arts whatsoever and state what seems like the obvious. The trick with a good project narrative is to balance listing a formal proposal’s details with personalization; you want to clearly outline your work while humanizing yourself. Try working in details about what inspired this project, or why it is important to you, your career and the community at large. Bonus points if you can link your project to any social causes, such as community engagement, educational outreach, etc--these up the chances of your project getting funded.
Expense Outline: This is the nitty gritty, and where you really can start to get a sense of how much funding is necessary to make your project a success. You need to be as specific as possible--no estimating or rounding up allowed. Detail absolutely every single expense that is related to the project. These can include but are definitely not limited to:
-purchasing scores
-renting instruments
-renting rehearsal spaces
-contracting musicians (DO NOT SKIMP ON PAYING YOUR TALENT)
-contracting a conductor
-hiring a costumer
-costume rental and laundering fees
-rental hall insurance
-added performer insurance (such as in cases of AGMA or Equity contracts)
-performance hall fees (PAY ATTENTION TO YOUR CONTRACTS, these can quickly add up)
-lighting fees (for rehangs)
-a lighting designer fee
-stage management and housing manager fees
-set designer fees
-building materials
-props, etc
-marketing associate fees
-marketing and advertising materials (FB ads, radio spots, programs for the production, etc)
...you get the general idea. Whatever you imagine could possibly cost your project money, document, label and list it, regardless of how large the list becomes. Sometimes your overall expenses will exceed the amount that the grant is willing to fund--that’s okay! Clearly state that you are aware of this fact, and take the time to identify additional sources of income that will be used to complete your project--crowdsourcing, your own savings, pairing with a local non-profit, benefit concerts, silent auctions of donated goods, selling your kidney, whatever. If anything, this shows maturity, forethought and organization on your part, which is a vote of confidence for any financial backer! If you feel that you need to work in a little extra financial padding, over estimate the cost of something rather than under estimate it; it is always better to ask for too much funding than to discover that you have too little too late.
Basic information and financial planning outlines can be found on the Chicago Artists Resource page. This page is chockerbox-full of wonderful articles, videos and links--be sure to scour it for everything it’s worth! A deeper look at creative funding can be found in their video series: http://www.chicagoartistsresource.org/survival-guide-business/funding.
Bio/Artist’s Statement: This is where you get to let your own freak flag fly! People are curious about the person behind the project, so be sure to include this in every donor request or funding application. Your bio should be no more than a single page, and include your name and contact information, as well as pertinent performances you’ve participated in. This is your chance to highlight what you’ve done. Your Artist’s Statement is different than a resume in that it is much more personalized--it can include highlights from your resume, but should focus on telling the story of YOU. Your Statement is a chance to showcase who you are and what you specialize in. It should be no more than a page, explaining the direction, focus, aesthetic, thematic content or form of your work in general. If your art form is more traditional, such as Baroque opera or folk art, you can include information about your traditional art form practiced and how you learned it (such as from whom, when, and where you learned it). In cases of folk or traditional arts, you can also include information on how the art form and/or your personal experience expresses the unique culture and communities from which the art form springs, or how the practice of this traditional art enriches your life/the life of your community.
Other forms of documentation you might be asked to supply could include:
-ID or proof of residency
-samples of your past work (recordings, reviews, production materials, etc).
-proof of confirmation (contracts, application agreement, letters of intent, etc)
Now that you have the basic materials needed to outline you, your work and the scope of your project, you can actually start actively applying for funding. HUZZAH!! So...how do you go about obtaining creative funding? The answer is in the title: creatively! Consider participating in silent auctions, fundraisers, etc. Some options can be found here: https://www.causevox.com/fundraising-ideas/. While the options are basically unlimited, most formalized financial options can be sorted into three basic camps: Grants, Crowdsourcing and Donations.
GRANTS
Whenever I speak with someone about creative funding, the first question I receive is, “What grants are you applying for?” Grants are an extremely common way to garner funding for your productions. At their core, grants are essentially just sums of money that are awarded to an organization or individual to be used towards a particular project or purpose. The key word here is awarded; while seemingly simple, grants are extremely competitive, and can have a multitude of requirements that are difficult to fulfill. They also usually require a good deal of writing, and often ask for a variety of formal proposals, budgetary worksheets, projected outcomes, etc. Most non-profit corporations hire people to fulfill grant writing positions, and for good reason--the amount of effort and time that a single grant requires can easily fill a forty-hour work week. However, the nice thing about grants is that they seem to follow the same principle as roles-- once your project receives one, they can easily attract others. Some grants also are renewable or feature rolling awards, which means continuous financial support for the future.
Grants are sort of similar to scholarships--there are a plethora that are available out there, from all-encompassing generalized arts grants to grants that only fund recordings of new compositional works for the harmonica (after 1960...yes, this is a real grant). With so many to choose from, where should you start?? A nowhere-near comprehensive list of grants can be found here: http://grantspace.org/. Some interesting projects are funded on a rolling basis by this artistic non-profit: https://www.creative-capital.org/. Some good grants that are specifically designed for artists in Illinois can be found here: http://www.arts.illinois.gov/grants-programs.
Funding for individual artists’ projects can be difficult in particular, as many grants require you to be attached to a foundation or corporation before you’re even eligible to apply. Anytime an independent artist sees the words ‘501(C)(3)’ as a grant requirement, it used to stop them in their tracks. Fortunately for us, there is now Fractured Atlas, a non-profit corporation that is designed to help support independent artists and their projects find funding. Fractured Atlas first asks independent artists to join their ranks as a member. Membership with Fractured Atlas is free, and creates an affiliation between yourself and the non-profit. It offers you a bit of professional street cred with financial corporations, and opens up a myriad of resources, including forums and interactive chat rooms where artists can ask fiscal advice. The Fiscal Sponsorship program allows independent artists to ‘borrow’ the non-profit’s 501(C)(3) standing to apply for grants that they would be otherwise ineligible for. The Fractured Atlas finance team asks you to submit your project proposal and grant application ahead of time. They then take a look at your grant, calculate the possibility of your success, and offer direct feedback and advice--an INCREDIBLE service to offer novice grant writers! If the proposed grant has a high likelihood of success, Fractured Atlas will take it up and formally submit it under their name, increasing the likelihood of winning the grant. In return, Fractured Atlas asks for a 7% fee
Keep in mind that not every grant submitted will be accepted by Fractured Atlas; the non-profit has a policy in which it will not allow two companies or artists to compete for the same grant while receiving their recommendation. More information about this program can be found here: https://www.fracturedatlas.org/site/blog/2014/04/17/5-tips-for-grant-research/.
Final word on grants: they aren’t a sure thing, but there are a TON of them out there, so be sure to be aware of what’s going on around you and the impending deadlines.
CROWDSOURCING:
We’ve all seen it: someone we know gets accepted into their ‘dream pay-to-sing program’, announces it with a #DelightedToAnnounce Facebook status that is quickly followed by a GoFundMe page. GoFundMe is an example of ‘crowdsourcing’, an easy and effective way to fundraise. At its simplest, crowdsourcing is a model in which individuals or organizations can finance their projects from an unlimited, open source of Internet users--meaning anyone online can donate from anywhere, anytime, with any amount. The idea is that, while no one individual can give a massive amount of money, many individuals can give smaller amounts that quickly add up to a cumulative, large sum. Once considered an ‘indie’ way to prep a project, crowdsourcing has quickly become mainstream; experts estimate that the crowdfunding industry will grow to over $300 billion by the year 2025. Popular crowdsourcing sites include Kickstarter, GoFundMe, Patreon--the list of sites can be endless. A really good, quick guide to some of the best crowdsourcing sites can be found here: https://quickbooks.intuit.com/r/crowd-funding/8-crowdfunding-sites-which-is-best-for-you/
A word of caution to this tale: if done poorly, crowdsourcing can quickly become a dreadfully uncomfortable experience for all parties involved. Imagine a situation in which a friend or family member directly asked you for money--the same sticky, uncomfortable feelings can apply to crowdsourcing. This is especially likely if you’re limiting yourself by thinking strictly in terms of who you personally know (and whether you’re comfortable asking them for money...or in some cases, asking them for money yet again). I myself quickly get queasy at the thought of approaching my friends and family members with an open palm. Here are some quick tips to help you navigate through any treacherous crowdsourcing waters:
Leverage your network’s network.
This is where most people go wrong with crowdsourcing: it isn’t just who you know, it’s who your friends know, too! Limiting yourself to your direct social network limits your possible source of income...this is a fancy way of saying that instead of thinking, “Would my roomie donate to my concert series?”, you should try thinking, “Does my roomie know someone else who has the money to donate to my concert series?”
As simple as it sounds, leveraging your own network can dramatically alter your crowdsourcing results. It allows you to expose your work to others who are already influenced by your mutual acquaintance’s positive association towards you, which in turn makes them more likely to support you and donate to your work. It’s a great way to put your personal contacts to use without feeling like you are overburdening them with repeated requests for money (an act that can quickly end friendships and alienate family members). In most cases, people will be more than happy to help introduce you to new people. Start by asking your friends and family members to bring someone with them to your performances and exhibitions. Try making sure that you have embedded links to some sort of online content within your crowdsourcing pages; examples of you singing or pictures of your paintings can go a long way to reinforcing an image of success. On the crowdsourcing page itself, be sure to reinforce your project’s message or purpose rather than your own career goals. You want to inspire people to feel like they are actively participating in a project rather than supporting another ‘vanity performance’.
2. Research your fans.
This sounds creepier than it actually is, I promise!! The concept of fan research coincides with marketing tactics 101: you are essentially building a product (yourself) and identifying a tribe of people who support that product. So...how do you find this tribe? Social media is often the easiest and most direct way. Take some time to examine your professional Facebook or LinkdIn pages (you DO have these, right??). Take note of anyone who appears to comment more frequently, or of those who have ‘liked’ your recent statuses. You should research the people who faithfully follow you on social media the same way you research who will be present at your audition panels (and you DO do this, right??). Doing this not only identifies potential donors, but it also gives you some insight into your brand’s image---what sort of audiences are you attracting? What does this tell you about the image you currently project? How can you actively leverage that audience base into a positive influence in your market...which is a fancy way of saying, ‘how can you make your natural ability to make friends with these sorts of people a tool in your toolbox’? Without realizing it, you probably already have a fanlist of some kind — people who have purchased tickets to see you perform, or joined your mailing lists, or commented on every single one of your #Blessed statuses. Take a moment to identify who you might not actually know in person. Every person on that list who you don’t already know personally is a new prospective donor, so take some time to do your research. Google them, visit their Facebook pages, connect with them over Snapchat. Take some time to learn a little bit about your audience base--if you’re only being followed by fellow “starving artists”, maybe you need to spend some time branching out via social media. Once you know your audience bases’ likes and dislikes, you can start to cater your proposals towards them.
Another word of caution to this tale: People are inherently empathetic and intelligent beings who appreciate authenticity. It is important to note that there is a distinct difference between catering a pitch to appeal to an audience base and changing an actual project to cater to the masses; do not confuse the two. If you suddenly alter your project’s goals in hopes of shaking down a larger audience, you will appear desperate and run the risk of losing more than you gain. Speaking about your project in appealing terms does not alter the project itself, nor does it change its originally intended purpose. Stay the course, be true to your project’s vision and learn to become comfortable with ‘selling’ projects, proposals, and yourself.
3. Think “outside the box.”
You’re creative, so your crowdsourcing should be, too!! The online world is teeming with professional networking apps---Shapr, Alignable, even Bumble Bizz (it is this author’s opinion that if you can find a date on your phone, why can’t you find a donor, too?). ‘Networking’ often has a dirty feel to it. I hear it, and instantly conjure up a mental image of some 80’s-style villain in shoulder pads, sizing up my usefulness in their personal endeavors over the top of their martini glass. In reality, networking is as painless a process as shaking hands, introducing yourself to new people and meeting friends of your friends. Keep in mind that humans are naturally social beings. All networking is simply an opportunity to get to know interesting new people, and hopefully to share your art with them. You never know who you might find — maybe a contact that you meet today ends up hiring you for a gig based on your current work. Stranger things have happened! The process could be fruitful, or it could be a bust, but at the end of the day, you’re proactively expanding your network and exposing your work to new audiences ----and nothing bad can come of that! Be open, be thoughtful, be honest and authentic, and stay true to your vision, and you never know what will come your way.
DONORS:
I’m a sucker for 90’s action movies, such as The Ghost And The Darkness. There’s a line about hunting lions that rings true to fundraising efforts: To catch a particular type of prey, you have to first learn how to think like they do. The same can be said about donations: In order to attract a donor or a business partner, you have to start to think like the CEO of your own business. Just as you sat down to prep your funding materials, you should constantly be sitting down and prepping your own personal marketing materials. This means taking the time to sit down with your production crew (either your support team of your coaches and teachers, or your actual production team) to analyze data, crunch some numbers and generate some marketable content. Did you perform in a recent production that someone recorded? Put that shit up on your website for all to see! Did you recently write a blog about performance practices? Publish that, and announce it in your monthly mailing! Generate excitement and content that reflects you as a professional so that when the time comes, you have an arsenal of past work to pull from to support your cause.
The arts in general are not a sound financial investment for any business. Audiences fluctuate, costs can change on a dime, and a return on an original investment is not guaranteed. Your donors know this; they aren’t ignorant of the chances they are taking. When someone donates to your project, they aren’t just investing in the project: they are actively investing in YOU. Recognizing this can act as a game-changing strategy for attracting new donors.You need to generate enough excitement, either about the project you are producing or about you as the producer, to overcome any objections and have donors invest in YOU. This is done through carefully crafting a narrative of yourself, your work, your brand as an artist, your project and its projected success, etc. What happens if your project is successful--what impacts would it have on the artistic world, or on the community in general? Talk about that rather than
If you are interested in forming lasting relationships with local businesses or donors, you’re going to have to treat them as such: relationships. The term “Donor Cultivation” has made the rounds in the creative entrepreneurial circles recently, and for good reason. It’s a term that refers to taking the time to get to know a donor--researching their history and what they’re all about, sending updates in terms of production developments, making them feel engaged in your work, and keeping them engaged once they have started to support you financially. A successful donorship is not someone who invests in a single project or production but in you or your company as a whole---someone who gives money not just to support a season, but to support your future.
Once you’ve leveraged your network to meet new people and researched your fans to figure out who might have the capacity to support you, go ahead and reach out to begin the process of donor cultivation. You already know they like you (or were at least interested enough in you to buy a ticket/download content/proactively join your email list), so the first moment of connection is easy. Send a quick email or note to thank them for being a fan and ask what they thought of your work--or better yet, personally invite them to your next event, or to meet you for coffee sometime (if you are comfortable with this). The more a prospective donor gets to know you for who you are, and the more they sense you’re happy to get to know them rather than simply holding out your hat, the more likely they are to make a donation.
A Final Note on Funding:
Chicagoland is full of opportunities and events regarding financing; there are always upcoming events, webinars or resources to tap. A calendar of upcoming events can be found on Chicago Artists Resource: http://www.chicagoartistsresource.org/events. Sign up for everything you possibly can, and spend your free time investigating and exploring new ways to finance your production. You never know when something might ‘pay off’ (get it??)!