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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Which Should You Appeal to, Head or Heart?
Part Two: How About Both?

The last Flight Log explored the pros and cons of writing to appeal to your readers’ heads or their hearts. Which is the best choice depends on the reader, the situation, … and the way the human mind works. A number of Flight Log readers responded with a request for tips on how to appeal to both head and heart at once; fortunately I had already anticipated the question and drafted this article! Read on for two tips on how to assess your reader and three examples of how to appeal to your reader’s head and heart at the same time.

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Which Should You Appeal to, Head or Heart?
Part One: Pros & Cons

Will data do more to forward your work, or will details of lived experience do more? If you want to persuade people to make a donation or grant, or to choose your method and hire you to provide it, should your writing speak more to readers’ heads or to their hearts? Here are some pros and cons to consider to help you decide which method will work best for each audience and situation.

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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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Make People Like Your Organization
Before They Walk in the Door

You want people to feel connected with your organization, to see it as a supportive friend or mentor and feel a sense of loyalty to it… even if they don’t yet have warm relationships with staff members. Writing is often your organization’s first introduction to prospective clients, donor, or grant funders. How can they feel connected with you before they have even met you?

The answer is simple to understand, but more difficult to achieve: humanize your organization by giving it its own personality when you write about it.

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