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Grants and proposals You're an artist. You have a great idea - a sculpture, a play, a book, a CD - but how are you going to make it happen? Many artists look to grants as a source of revenue. A grant is a sum of money allocated by a government agency, corporation or foundation. The criteria for applications are specific, and although the recipient doesn't usually have to pay the money back, there are often stipulations attached to the grant. In the Symposium 2002 grant and proposal writing workshop, Karen Green told participants to make sure that your project is a perfect match for the grant you are targeting. She suggested arranging a face-toface meeting with the grants officer to ensure that your project is appropriate, to ask them any questions you may have, and to double check that you are fulfilling all the criteria. It is important to know your project inside out and to do your research in order to make the right choice for your grant application. Piggybacking with an arts council or a non-profit agency or finding a community partner to match funds may increase your chances of receiving grant money. But grants are a very competitive way of funding a project. The rules are set, often in stone. Sometimes it takes months to find out if an application has been accepted. It's never a good idea to have the life of your project dependent on a grant, Green pointed out, and strongly urged applicants always to have a solid contingency plan. More and more artists are looking for collaborators these days and Green encourages them to follow this route. "With a proposal, you are the initiator. You are looking for allies who share mutual values, passion and interest. You are creating relationships that are there for the long run." Writing a proposal brings clarity about your project. You have to get it down in writing in order to have something to communicate with. The first step is to write what Green calls the "one-pager" - a single sheet that clearly defines the project, its components, its motivation and, most importantly, its needs. When you have identified what you need, then you can identify who can help you. Unlike grants where you are usually applying for money, proposals can ask for almost anything - materials, accommodation, promotion, printing, venues, food - the list is endless. When you make a proposal you must also identify what is in it for your potential partner. The benefits must be reciprocal. It's a good idea to start with the people you know. Share your one-pager with a friend or, even better, gather a few people together and have a brainstorming session. You would be surprised how many strategies and potential partners can be generated in just an hour or so. They may also be able to steer you to the perfect partners for your project. In these uncertain times, it is more and more important for artists to become proactive and self-reliant, to find what they need Making (local) history For some, it's listening to an old timer spin a colourful tale about the early days. For others, it's yellowing photographs or bundles of letters. Whatever the spark, the realization that follows it is beguiling: "There must be a good book in there somewhere!" North Vancouver's Doreen Armitage is one of the few hopefuls to have taken the next step and to have written and published not just one but two books of local history. At the symposium she outlined the secrets to making such ventures a success. As a first step, Armitage advised writers to research the market before actually starting a project and to choose an appropriate publisher. She then noted that a local history must have a focus or theme to make it more than just a chronology or a collection of anecdotes. At the same time, she warned against getting carried away with the research. It's vital to be accurate, she pointed out. Local histories are full of dates, quotes and facts and it is crucial that they are all checked and documented. This is especially important when you realize that what you include might well become the accepted version of events. "What you write becomes history," said Armitage. - Maureen "When you have identified what you need, then you can identify who can help you." outside of the traditional sources. Through networking and research you can find others will the same passion and vision, and form solid creative collaborations that will last for years. - Peggy Curtis Stortz Checklist for a written proposal Cover letter Title page Executive summary Introduction Main body: needs, motives and benefits The means - what you propose to do Control mechanisms (accountability) Future of the project Budget Time line Summary - three key points Conclusion Qualifications Additional documents, e.g. letters of support ( C o m p o n e n t s m a y vary d e p e n d i n g o n the proposal.) M a r c h J A p r i l 7