Today’s guest blogger is Rick Riccio. Rick is the owner of Riccio Exhibit Services and is now in his 18^th year of teaching History Museum Exhibits to graduate students in the Historical Administration (HA) Program at Eastern Illinois University. He has worked on museum exhibitions in one manner or another since 1974. Each of the exhibitions with which he has been involved has had its unique challenges and problems to solve. Rick has guest blogged for us before.  You can read his previous posts regarding the process he guides his students through so they understand what is involved when creating exhibits here and here.

After just reading “No Place like Home” by Dan Erickson in the Jan./Feb. 2013 issue of Museum, I feel compelled to respond. Having been on exhibit staffs of museums myself, I agree with him that museums should not eliminate exhibit staff positions. But his reasons pit for-profit companies against in-house staff, which I think misrepresents both. His main argument for producing exhibits in-house instead of outsourcing is the issue of “quality.” In-house staff, he argues, can produce better quality exhibits than commercial firms for two reasons; one, exhibit companies need to make a profit and two, museums (and their staff) have better access to specimens and information. Erickson has worked for both commercial firms and a university museum. When tasked with making a small prehistoric shark model with the commercial firm, he was given basic book illustrations and two weeks to complete the project. Asked to produce a similar model as the university museum employee, he accessed fossil references at the Cleveland Museum of Natural History (CMNH), consulted with the vertebrate fossil curator there, and invested a couple hundred hours on the project. The problem with this comparison is that same information at the CMNH is available to anyone with a serious research project. You don’t have to be a member of a university museum staff. Furthermore, if a design company were only interested in the profit margin, they wouldn’t stay in business for long. There are good reasons for choosing to produce exhibits or some exhibit components in-house, but the main reasons lie with the particular skill sets of your staff, and any exhibit manager should know what her staff is capable of accomplishing in-house and what tasks need to be out-sourced. Even commercial firms are more qualified for certain exhibit services than others. If a shark model is needed, go to those firms skilled in that kind of exhibit fabrication. There may be exhibit firms out there that don’t work closely with museum staff, but that is not typical of the industry. Most museum staff would feel insulted at the least, if they were not closely involved in the exhibit development process.

Museum staff should, as Erickson points out, share their expertise with other institutions, but this arena of cooperative engagement is not limited to museum staff. Just look at posts on listservs like the one NAME hosts, and you will see that solutions to problems come from exhibitors in both the non-profit and for-profit worlds. Exhibit firms want to develop long-term relationships with their clients. My firm created epoxy resin Indian house models for a state historical society so they could distribute them to their historic sites. We then gave the molds to the museum and instructed their exhibit staff how to make additional casts if they desired.

I agree with the author that museum exhibit staff are underutilized at many museums, and he offers creative ways that other departments can tap their varied skills. But the in-house vs. outsource issue is not an either/or proposition. They are two sides of the same coin, and museums are better served when the option for either choice is kept open.

Improve Your Success Rate with Outcomes-based Appeals
By far and away the most vital part of fundraising is the ask. The simple act of asking for what you want is a powerful, essential, and – some would say – scary activity. But the old saying is true – ask for what you want and you will receive (at least some of the time). Asking is risky – someone might say ‘no’. And most things worth doing do involve some risk. If you ask enough, you are guaranteed to be turned down some of the time. So how can you improve your success rate?

First, think of fundraising as any other kind of business venture. All businesses, whether B2B or B2C, have to ask their customers for their business or risk losing ground. Of course, the charitable donor isn’t expecting a product or service in return for their donation. But, donors do view their gifts as investments. Their ROI is the change that your organization makes in the world: think impact, outcomes, and lives transformed.

In nonprofit fundraising one of the keys to greater success is framing your ask as an opportunity. Many organizations rely on ‘needs based’ approaches, and those can work, but what really energizes donors is the opportunity, the flip side of the need. So instead of helping fulfill a need, you’re creating an opportunity to save lives and change lives for the better. People love to help other people and donors are no different. If you can frame your work and the outcomes of your programs in terms of transforming the lives of people who would otherwise not be so served, you will raise more money for your cause.

The nonprofit economy is just as competitive as the for profit world. Donors aren’t thinking ‘how can I get the greatest ROI?’ but instead, they ask ‘what is the best investment for my resources to achieve my goals?’ Offer your donors amazing outcomes and you will inspire them to choose your cause.

Tim Montague is a marketing and fundraising consultant based in Central Illinois. Find out more about his work to inspire Growth for the Greater Good! at
www.montaguebrands.com

Reaching a larger pool of prospects and donors is always a great way to expand your fundraising program. I caution all my clients that securing new donors is not cheap. On average it takes about ten times the resources to acquire new donors than it does to retain or upgrade an existing donor. That’s why upgrading donors is so important and must also be a priority. But growing your base is a must-do for any organization that wants to grow. It counters turnover, creates new opportunities for volunteer and board involvement, and generally breathes life into your organization.

Because donor acquisition is expensive, you have to be smart about it: a) Leverage your existing relationships as much as possible – seek referrals from your most loyal constituents; b) Be strategic, target certain demographics; c) Expand outreach thru events; and d) Develop outcomes based appeals.

Fundraising in all of its stages is relationship building. Don’t fall into the trap of thinking of it as scoring a goal. You point, aim, and shoot, right? Wrong. Developing donors is like making friends. You have visit, play (relax, be entertained), and bond. People (donors) are highly social animals and it takes us time to like and trust one another. Donors are investing in your future. They will do so only if they like and trust your organization.

Referrals – the warm network
Asking for referrals from your most loyal friends, volunteers and board members is a great way to grow your network of contacts (prospects) in a way that has built in advantages (greater ROI). If I’m a donor and I refer a business colleague, friend or neighbor to your organization, I’ve just made an even greater investment, I’ve put my reputation at stake, and I’ve introduced you to someone who shares my values and perhaps my philanthropic interests. This is the simplest yet often overlooked pathway for developing new donors. This is a great way to engage your donors and volunteers.

Target specific demographics while expanding outreach
All people are not created equal. We have personalities, interests, histories, careers and networks that set us apart from or connect us to one another. Decide who your best constituents are and figure out how to reach a bigger group of people with those characteristics (wealth, affinity, influence). If I’m raising money for a museum or cultural institution, I might want to target families with children in a certain geographic area or I could pursue prospects that belong to organizations that have similar educational or cultural themes (the arts, science/technology, or education).

Not everyone is a prospect. Once you know the demographic you are after you will find ways to meet them through their interests or circles of influence (service clubs, business organizations, schools/PTA, zip code, title, etc.). You can target new prospects by mail, by email and social media, and by hosting live events.

Hosting live events is the most fun of all these methods, but requires the most planning, preparation, and budget. A museum I worked for in Chicago hosted a series of ‘open doors’ events that were intimate affairs with an exclusive list of invitees hand selected by their best donors and volunteers. The events were designed as a first point of contact between new prospective donors and the museum leadership. They were a great way to showcase the museum in a highly social (networked) way that built instant trust and loyalty.

As one of my mentors likes to say, it’s amazing what you won’t get by not asking for it. In my next installment I’ll discuss developing ‘outcomes based’ appeals and how you can improve your response rate by framing your ‘pitch’ as an opportunity to save lives and change lives (the outcome). What you ask for matters! Thanks, and until next time – growth for the greater good! -Tim Montague, M.S., CFRE

We should all incorporate more storytelling into our relationships. Daniel Pink advocates this in his book A Whole New Mind: Moving from the Information Age to the Conceptual Age. Stories have a deeper impact than simply reciting facts, figures, and bullet points. Stories take us to a place of high impact and high touch. But how do you become a good storyteller? Practice. And I’ve found a fun place to practice storytelling, StubStory.com.

Do you have an old ticket stub that you’ve saved for years?… a concert, sporting event, Broadway show, etc.? These tiny shreds of paper are powerful reminders of experiences we’ve had. StubStory embraces the idea that we hang on to ticket stubs to help us relive these experiences. These experiences can make for great stories. Roaring amplifiers, race cars fumes, crowded theaters…all wonderful ingredients for stories!

How it works? Simply scan or take a photo of a ticket stub, craft a short story about your experience, then visit the website and follow the instructions to upload it. It’s entertaining to read others’ experiences and a fun opportunity to sharpen your storytelling skills.

Today’s guest blogger is Shea Lewis.  You might recognize his name from that little blog called Interpretation by Design.  If you’re not familiar with it, check it out!  No, wait, not right this second.  Finish reading this first, then go check it out!  More about Shea follows.

Two of the latest buzz words that you hear today related to marketing, advertising, and interpretation are authenticity and experience. (Two words you no longer hear are buzz and words.) The trend of visitors searching for immersive experiences at locations that offer something real is nothing new for interpretation or interpretive sites. In my experience, it seems that the most successful interpretive experiences are at sites that know why they exist, what stories and themes they should interpret, and their audience.

So, how do you determine that what you are offering is authentic?

Growing up in Memphis, Tennessee I was fairly (and by fairly I mean totally) filtered from elements that have made Memphis famous or infamous (well, besides the barbeque). That doesn’t mean I don’t know something about presenting the authenticity of Memphis (even though I was raised in suburb surrounded by many much more wealthy than my family). In my high school the type of car you had greatly improved the likelihood that you could land a date. I know this may be the case for most high schools based on my vast knowledge of Beverly Hills 90210 episodes. In my case, I was fortunate since I had a ‘Vette. I could begin conversations with chicks (that’s what guys with ‘Vettes call ladies) by saying, “Come on, let me take you for a ride in my ‘Vette.” The only problem is that I wasn’t driving a Corvette, I was driving a Chevette (1983, tan, four-door hatchback, for those who really care).

Let’s face it, my ‘Vette line was never effective at getting dates because I wasn’t being authentic. Also at fault were my husky body type, eyebrows that looked like one large caterpillar, and the fact that everyone already knew I drove a Chevette.

The problem with being authentic is that sometimes it is difficult and unpopular. Museums, parks, and nature centers (along with other sites) that don’t know why they exist or are not honest about why they exist struggle with this concept the most. It can be easier at times to offer certain products, programs, and media for the wrong reasons. Just because they are the most cost effective, may bring in an audience, can sell well, drive the most positive interest, or are easiest to produce are counterproductive if they go against mission. It has been my opinion that nonpersonal interpretive media should not become the interpretive site itself. The exhibits, website, and publications should all enhance and promote the intended experience.

Finding the right story or stories to tell can be challenging. This area can benefit from a set of critical eyes. We all have passions, personal interests, and biases about what should be presented and how it should be presented. These perspectives should be set to the side so the focus can be supporting the site’s mission. By developing themes based around that mission steps towards authenticity can be achieved. Some might say limiting options stifles creativity, but I would say it inspires creativity. Working with restraint will lead to better visitor understanding and satisfaction. At times, I have struggled with what the essential experiences of the sites where I have worked should be. After debate and consideration with staff and other key players, making changes to be mission driven make a difference.

We all need an audience, but interpretive sites can be guilty of thinking about them too much—or not enough. If you want to improve visitors’ experiences, you need to gain their perspectives. If you have ever been involved in a visitor satisfaction survey, you know that a view from the outside can be a valuable perspective. The only problem here is that even this involves its own level of biases. Knowing your audiences is no easy task when it comes to making decisions, especially if it involves financial decisions and getting the biggest bang for your buck on a piece of nonpersonal media, personal program supplies, or facility improvements. If the goal is to further you mission, that perspective may be the most important.

It would take me several years before I learned the lesson that it wasn’t what I had (or drove) that would lead to successfully getting a date. I’m glad to report today that I found a woman who married me 15 years ago, in spite of my car and unibrow (both of which she corrected; I’m still husky).

Of course I know now, she married me for my money.

Shea Lewis is the region 4 supervisor of Arkansas State Parks. He has worked as an interpreter, chief of interpretation, and park superintendent in Arkansas and Idaho since 1995. He is the co-author of Interpretation by Design and co-founder of the blog by the same name. Shea earned a master of education from the University of Arkansas at Little Rock in 1999 and a bachelor of science in education from the University of Memphis in 1996, and he is a Certified Heritage Interpreter and Certified Interpretive Manager. He received the 2006 Meritorious Service and 1998 Distinguished Young Professional Award from NAI Region 6. Seersucker is his suit of choice. Shea lives in Hot Springs, Arkansas, with his wife, Sebrena, and children Gracie, Anna, and William. Due to three incidents, Shea makes few decisions without consulting his wife. Contact Shea at shealewis@yahoo.com.