Who is the Normative Human?

Who do you picture when someone says, “a person”? How is that defined by our society, and how can we push back on it?

 

Gender

While gender sensitivity in writing is increasing, many of us were taught in school that correct English grammar means using pronouns that assume masculinity when gender is indeterminant or unknown (though that convention actually originated in the 50s). For example, we were taught to write “a person may expect others to be like him,” “one may like his own way best,” “a child should be treated like he matters,” etc. Even with increasing gender sensitivity, how many times have you heard a driver shouting, “he cut me off!” when no one knew the gender of the driver who did it?

 

Race, Sexuality, Ability, etc.

Privileged people also tend to assume they are speaking or being told about others with similar privilege, unless it is stated otherwise. How many white people have you heard say something like, “I saw a guy walk in, and then an Asian guy came up to him…” with the clear assumption that “a guy” must be white unless it is stated that he is not? How many white people say, “I saw a white guy walk in”? Similarly, how many heterosexual people identify when someone is not hetero, but not when someone is? How many able-bodied people identify ability only when speaking of someone disabled?

 

Why Does This Matter?

It is important to avoid language with these assumptions both in speech and in writing, especially mission-based writing. The reality is that there is no normative human being; there is a wonderful diversity of human beings. When we use language that implies one image of normative, it treats everyone else as other and less than.

 

The Solution

I think we need to go beyond just keeping gender, race, and sexuality indeterminant when they are not relevant. That is a way of avoiding further elevating privileged people, but it does not erase the elevation they already have. What I believe we need to do is intentionally lift up those who have been cast down to the same level as those who have been privileged. That means writing in ways that assume the normative person is female, gender-expansive, BIPOC, queer, disabled, etc. It means intentionally bringing marginalized people into the center where only privileged people were before, and calling on your readers to see how they belong there. It means using she to describe a normative person who is, say, accessing your services – then describing her need to navigate the space in her wheelchair, to have a joint appointment with her wife, and to receive trans-sensitive, culturally-congruent care from another Indigenous person.

Redefining How We Think & Write About Disability

We are taught to think of deafness, blindness, paralysis, Autism, etc. as inherently disabling to people who have them, but they are not actually disabling unless occurring in a society that won’t include them. For example, if our built spaces had no stairs, narrow passageways, or steep slopes, and all meetings occurred sitting down, and all doors were automatic, and other such changes, then using a wheelchair would not actually prevent anyone from fully participating in society and would not be a disability. Or, to give a real-life example, there used to be such a large population of deaf people on the island of Martha’s Vineyard that all hearing people learned sign language. Deafness was not a disability when it did not hamper people from functioning in daily life. A wide range of difference in ability is natural to humanity and is not inherently disabling if society does not make it so.

It is important not to write about people as being deserving of pity because of their differences in ability, but instead to write about them as being deserving of compassion because of how our society excludes them, judges them as inadequate, infantilizes them, and does not give them full access throughout life.

Public health experts have learned to stop writing about being Black as a risk factor for certain health issues, but to write instead about being a target of anti-Black racism as a risk factor for those issues. When will the same be done for people disabled by our society’s refusal to support people with the full, wide range of differences that naturally occur in our species? At least we can begin this change in the ways we think and write about people with disabilities.

We are Not Islands – the Importance of Describing Life Context

If you aren’t careful in your writing, most American readers will read it through the lens of our individualistic culture, the over-simplified paradigm that individuals alone are responsible for what we make of our lives. This predominant paradigm doesn’t take into account the social systems that give some people fewer choices, resources, and opportunities, as well as more risks, barriers to success, stress, health issues, and trauma.

People from oppressed groups are far more likely to have grown up aware of the truth – that people’s lives are shaped by how other people and social systems treat them, by what choices this context and their natures give them in response, and only then by what choices they make. Still, chances are that your readers will have the individualistic view to some degree programmed into their thinking by our culture, even if they have been working to reprogram it in themselves, and especially if they have had access to privilege. It is therefore important for mission-based writing to explicitly describe the systems that shape people’s lives. In addition to helping organizations address the barriers caused by these systems, this makes a critical difference to readers in the following three ways:

1. It Helps Shift Culture to Address Systemic Injustice

One of the first steps for addressing systemic injustice is to get it out in the open and develop a culture where we all explicitly acknowledge and talk about it. That means making a regular practice of intentionally countering the dominant individualistic paradigm. The more of us do this, and the more often we do it, the more thoroughly we will reprogram our own thinking, help others reprogram theirs, and influence others to continue explicitly contextualizing people’s lives within systems of oppression or privilege. Helping to make this thinking common practice helps shift US culture to a more accurate view that factors in both what is in an individual’s control and what is not. This culture change is necessary for both addressing the harms of injustice and ultimately eliminating it, and we are all responsible for being part of this change.

2. It Helps Shift Culture to Stop Blaming People for the Impacts of their Oppression

Describing life context fosters compassion by enabling people to imagine themselves in the other person’s shoes and not judge them. For example, many people would judge a woman described as a high school dropout who has not been able to hold down a job, has three children by three different men who are not helping at all, and is struggling to get by on Welfare. But what if they knew that her mother struggled with addiction and due to racial bias, was sent to jail instead of rehab, and she was placed in foster care, where she was never left in the same place more than a few months before being moved again, so she developed a “tough girl” persona, and her life was peppered with racist microaggressions from foster parents, teachers, and social workers who didn’t think she’d amount to much? It’s no surprise then that she wasn’t motivated in school, and her need to be accepted, coupled with her lack of access to birth control, led to pregnancy by the age of 14. Stories like this are not uncommon, and once we unpack all the oppression so many people are up against, we can eradicate the trend of blaming them and instead admire their resilience, offer them support, and work to change the systems that are truly to blame for their situations.

3. It Portrays the Context and Impact of Your Work

Showing what the people you work with are up against makes the importance and difficulty of your work crystal clear, and it shows how deeply people can improve their lives by participating in your programming, or what a deep difference the systemic changes you strive for or achieve will make.

This draws donors and funders to support you and makes constituents feel more comfortable receiving your help, since they know you won’t blame them or look down on them in pity. It also helps donors and funders adjust their expectations. For instance, it could show them that if you are working with people struggling for survival amidst oppression, you cannot be expected to quickly solve all of their problems or mold them all into organizing leaders – but what you can do is invaluable.

How Do You Want Your Readers to Feel?
The 4 C’s

To be successful in your mission-based writing, you must carefully consider how you want your readers to feel. Most of the time, you are aiming to elicit four different responses simultaneously, which I call the four C’s. Miss any one of them, and you will not get the results you want.

How You Want to Make Readers Feel: the 4 C’s

• Concerned about the problem
• Compassionate toward the constituents (including themselves, if you are trying to engage them in services)
• Confident in your ability to address the problem
• Captivated by your story of real or potential impact, so they will remember you

 

A helpful exercise is to take a piece of writing and assess how well it addresses the 4 C’s.

Here is an example from a need statement that has major problems with all 4 C’s:

There is little that can be done to stop the arts from disappearing from schools, and economically disadvantaged families usually cannot afford the time or money to go to museums, performances, or art classes. Many low income people do not appreciate the arts, so it is a challenge to fill our programs. Those who do attend usually come only once. Still, Silver Arts Center continues to offer exhibits, performances, and art classes, hoping that through us, at least some of the urban underprivileged will become involved in the arts.

How Does it Address the 4 C’s?

• Concerned: The passage talks about the arts disappearing without discussing the value of what is dying out. It depicts people with low incomes as not being interested in the arts and does not show how they are missing out on something that would be of value to them. The issue also sounds more depressing than concerning. When concerned, people are motivated to want a solution to a problem; when depressed, we just feel down about it. This passage makes the situation appear so hopeless that the reader just wants to move on to something else and not think about this seemingly unsolvable problem.
• Compassionate: The passage paints the constituents as ignorant, unappreciative, uncultured, and inferior to those working at the arts center. This judgmental attitude blocks compassion for the constituents – or leads readers to feel compassion for their plight in having to deal with such a judgmental, superior nonprofit, rather than feeling compassion for their lack of access to the arts.
• Confident: While the passage shows the nonprofit’s superior attitude, it does not make the reader feel at all confident in the organization’s ability to do their work. On the contrary, the classicism it exhibits shows a huge obstacles to successful engagement of the constituents. It also explicitly states that the arts center has trouble filling their programs and getting repeat attendees, and the reader suspects this may have more to do with the organization’s classicism than with the constituents’ lack of appreciation for the arts.
• Captivated: Far from being captivated by this organization’s story or impact, the reader is left either wanting to forget what was written, or remembering it only because its classicism sparks a sense of righteous indignation against the organization.

 

In contrast, here is an example that describes the same arts center using the four C’s:

Our schools are giving away their pianos and replacing their walls of student watercolors with walls of standardized test scores. The arts are being erased from schools, and families with low incomes have difficulty affording museums, performances, or art classes. People struggling to make a living without access to the arts often do not even have a chance to learn the value creative pursuits could add to their lives. At Silver Arts Center, we believe that creative expression is a vital part of human life and should be available to all, so we offer free exhibits, performances, and art classes in the bustling heart of downtown. We highlight local talent and locally relevant topics, stimulating the art lover – and the artist – innate in each person.

 

How Does it Address the 4 C’s?

• Concerned: The passage discusses the value of the arts and paints a picture of what it means for students and adults with low incomes to live without them. It makes the problem sound solvable through the organization’s work.
• Compassionate: The passage describes the constituents in a way that anyone could relate to; instead of judging them for not appreciating the arts, it shows how their circumstances prevent them from even getting to see what they are missing. It paints the constituents as no different than the writer or the reader, except for their situation. It affirms the artist in every person and makes the reader feel for constituents and want them to have access to the arts.
• Confident: The passage makes the arts center sound like they are part of the community, responsive to the community’s needs, and genuinely appreciative of and connected to the people they serve.
• Captivated: The organization sounds inspiring and warm. The passage makes the reader imagine how the arts center must be filled with struggling people who have found that its classes uplift them and transform their lives through enabling them to discover the joy of creating art.

 

While these examples are extreme, you may find on examination that your writing is strong on two or three of the C’s, but omits or is weak on the other one or two. Make sure it is strong in all four, and your readers will respond.

Mission-Based Writing as Creative Writing

Many people see grant writing and copywriting as necessarily dry and boring, but they’re actually most effective if you use your creative writing skills. The more you can bring your work to life, the more persuasive and memorable your writing will be. And one of the best ways to bring your work to life is to use sensory language that makes readers imagine what it looks, sounds, smells, tastes, and feels like.

Here’s an example of a purely factual description:

Suzie’s House provides beds, meals, and fun activities for youth experiencing homelessness. We have adult mentors facilitate the group activities, and the youth and mentors cook and eat all meals together. We even have a foosball table.

And here’s another description that’s about the same length, but feels completely different:

Suzie’s House finds youth sleeping on hard park benches in the cold, and brings them inside for cozy beds, foosball, and laughter. Youth and adult mentors connect while cooking and eating favorite meals together, such as pizza and spaghetti.

 

Try looking at your writing and thinking of where you can add sensory details that will make your readers imagine the challenges you address, how wonderful it feels to participate in your work, and how much better life can be afterward.

 

How Mission-Based Writing is Like Dating

Think of a time when you were infatuated with someone, and you wanted to get them to like you, connect with them, and see if you could get a relationship going. That’s actually what you’re always trying to do in mission-based writing. Whether your goal is to persuade a foundation to fund your work, a donor or volunteer to contribute, or a potential client to come receive services, what you’re really trying to do is build a relationship, so it can help to apply commonsense dating tips to your writing.

Here are a few common sense tips to follow if you want to get a relationship going with someone new, whether in dating or in mission-based writing.

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How to Bring Your Work to Life with Participants’ Stories

Whether you are seeking new clients, participants, donors, funders, or volunteers, you need your writing to bring your work vividly to life so they will imagine what it is like and want to receive it or help you provide it. Quotations and stories are the best way to illustrate what your work truly feels like to real people … but only if you use them effectively.

The last Flight Log explored what makes a quotation strong, how to fit them when you have very little space to work with, and how to collect good ones. Now let’s talk about how to effectively use participant stories.

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How to Bring Your Work to Life with Participants’ Words

You need potential participants or clients to see why they should jump up and run to you, and you need potential donors and funders to see why they should give as much as they can. You can describe all of the benefits in perfect detail, but that won’t make readers imagine what it feels like to receive them. So what will?

Quotations! Never underestimate the power of a real person’s words. Direct quotations from participants bring in human voices that the reader can hear and can’t help relating to, voices that sound like people they know.

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4 Ways to Make Your Brand Story Compelling

The word “brand” probably makes most of us think of sterile corporate logos, but in my last Flight Log article, I wrote about how a good brand story actually advances your work by adding human warmth to an overly commercialized and anonymous world. In this Flight Log, we’ll look at four traits that can make your brand story so compelling that your audience not only remembers it for years, but wants to connect with and support your business or organization.

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Succeed through Storytelling:
How to Advance Your Work with a Brand Story

There’s a lot of hype about brand stories, but can they really advance your work?

Take my own business is an example: most of you know that I started from scratch in a new field and a new region where I hardly knew anyone, and I quickly created a thriving business … but you may not realize that my primary business-building tool was (and is) my brand story. Many of you first met me at a cafe for tea or just at your office, and I began by telling you how I got to be sitting with you. It felt (and was) genuine, not sales-y, and it got many of you interested in hiring me. That was my brand story.

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