The only grammar rule that matters in fundraising copy is to make your message unambiguous and moving. Communicating information is only part of our goal. We must communicate emotions. Anytime you have to choose between an informational word and an emotional one, don't aim for the head — aim for the heart. That's where the real decisions are made.
Here are a few things in fundraising I see that (it seems to me) started out as optimism but are now sliding swiftly down the slope toward stupidity. If you identify with any of them, try to throw yourself in their paths and stop the looming disaster before it’s too late.
There’s a big difference between donor feedback and market research.
I don't like fundraising programs that don't raise funds and the attitude that it has to be "either/or" when it comes to things like email and direct mail or social media and newsletters. I much prefer "both/and." So in that spirit, I once again turn to my old friend, Mark Twain, for advice on achieving the best results in our fundraising efforts.
When you have a public campaign, it is helpful that you secure a public figure to be an honorary chair and spokesperson, like Peyton Manning, for your organization if at all possible. That person, however, must have the same values, mission and, in many ways, be an extension of the organization.
Why bother using the mail at all for fundraising? In memory of Mr. Ed (my mail carrier, not the horse), here’s my response …
Remember that you're sending engagement communications to donors. Your most important job is to keep them motivated to donate.
One of the hardest parts of copywriting is that, to be truly effective, you have to be a genuine advocate for your client or organization. That means you have to genuinely feel what you want your readers to feel.
Pamela Barden takes a look back at 2013's last week of fundraising, this time tackling the fundraising direct-mail appeals she received in the final week of the year.
When you're building a powerful, emotional message, the last thing you want is for the reader to get distracted by trying to understand what you mean. So be brief, be cogent, be powerful, and know when to stop.
