Grant Proposal Writing, Planning, and Research for Outreach Missions

Introduction

The subject of this short course is proposal writing. But the proposal does not stand alone.

It must be part of a process of planning and of research on, outreach to,

and cultivation of potential foundation and corporate donors. This process is grounded in the conviction that

a partnership should develop between the nonprofit and the donor. When you spend a great deal of your time

seeking money, it is hard to remember that it can also be difficult to give money away. In fact, the dollars

contributed by a foundation or corporation have no value until they are attached to solid programs in the

nonprofit sector. This truly is an ideal partnership. The nonprofits have the ideas and the capacity to

solve problems, but no dollars with which to implement them. The foundations and corporations have the financial

resources but not the other resources needed to create programs. Bring the two together effectively, and

the result is a dynamic collaboration. You need to follow a step-by-step process in the search for private dollars.

It takes time and persistence to succeed. After you have written a proposal, it could take as long as a year

to obtain the funds needed to carry it out. And even a perfectly written proposal submitted to the right

prospect might be rejected for any number of reasons. Raising funds is an investment in the future Your aim should

be to build a network of foundation and corporate funders, many of which give small gifts on a fairly steady basis

and a few of which give large, periodic grants. By doggedly pursuing the various steps of the process, each year

you can retain most of your regular supporters and strike a balance with the comings and goings of larger donors.

The recommended process is not a formula to be rigidly adhered to. It is a suggested approach that can be adapted

to fit the needs of any nonprofit and the peculiarities of each situation.

Fundraising is an art as well as a science. You must bring your own creativity to it and remain flexible.

Gathering Background Information

The first thing you will need to do in writing the master proposal is to gather the documentation for it.

You will require background documentation in three areas: concept, program, and expenses. If all of this

information is not readily available to you, determine who will help you gather each type of information. If you are

part of a small nonprofit with no staff, a knowledgeable board member will be the logical choice. If you are in a

larger agency, there should be program and financial support staff who can help you.

Once you know with whom to talk, identify the questions to ask. This data-gathering process makes the actual writing much

easier. And by involving other stakeholders in the process, it also helps key people within your agency seriously

consider the project's value to the organization.

Concept

It is important that you have a good sense of how the project fits into the philosophy and mission of your agency.

The need that the proposal is addressing must also be documented. These concepts must be well-articulated

in the proposal. Funders want to know that a project reinforces the overall direction of an organization, and they may

need to be convinced that the case for the project is compelling. You should collect background data on your

organization and on the need to be addressed so that your arguments are well-documented.

Program

Here is a check list of the program information you require:

· the nature of the project and how it will be conducted;

· the timetable for the project;

· the anticipated outcomes and how best to evaluate the results;

and

· staffing and volunteer needs, including deployment of existing staff and new hires.

Expenses

You will not be able to pin down all the expenses associated with the project until the program details and timing

have been worked out. Thus, the main financial data gathering takes place after the narrative part of the master

proposal has been written. However, at this stage you do need to sketch out the broad outlines of the budget to be

sure that the costs are in reasonable proportion to the outcomes you anticipate. If it appears that the costs

will be prohibitive, even with a foundation grant, you should then scale back your plans or adjust them to remove the

least cost-effective expenditures.

Components of a Proposal

Executive Summary: umbrella statement of your case and summary of the entire proposal-1 page

Statement of Need: why this project is necessary-2 pages

Project Description: nuts and bolts of how the project will be implemented and evaluated-3 pages

Budget: Financial description of the project plus explanatory notes-1 page

Organization Information: History and governing structure of the nonprofit; its primary activities,

audiences, and services-1 page

Conclusion: Summary of the proposal's main points-2 paragraphs

The Executive Summary

This first page of the proposal is the most important section of the entire document. Here you will provide the reader

with a snapshot of what is to follow. Specifically, it summarizes all of the key information and is a sales

document designed to convince the reader that this project should be considered for support.

Be certain to include:

Problem — a brief statement of the problem or need your agency has recognized and is prepared to address

(one or two paragraphs);

Solution — a short description of the project, including what will take place and how many people will benefit

from the program, how and where it will operate, for how long, and who will staff it (one or two paragraphs);

Funding requirements— an explanation of the amount of grant money required for the project and what your plans

are for funding it in the future (one paragraph); and

Organization and its expertise— a brief statement of the name, history, purpose, and activities of your agency,

emphasizing its capacity to carry out this proposal (one paragraph).

The Statement of Need If the funder reads beyond the executive summary, you have successfully piqued his or

her interest. Your next task is to build on this initial interest in our project by enabling the funder to understand

the problem that the project will remedy. The statement of need will enable the reader to learn more about the

issues. It presents the facts and evidence that support the need for the project and establishes that your nonprofit

understands the problems and therefore can reasonably address them. The information used to support the case can come

from authorities in the field, as well as from your agency's own experience. You want the need section to be succinct,

yet persuasive. Like a good debater, you must assemble all the arguments. Then present them in a logical sequence that

will readily convince the reader of their importance. As you marshall your arguments, consider the following six points.

First, decide which facts or statistics best support the project. Be sure the data you present are accurate.

There are few things more embarrassing than to have the funder tell you that your information is out of date or incorrect.

Information that is too generic or broad will not help you develop a winning argument for your project. Information

that does not relate to your organization or the project you are presenting will cause the funder to question the

entire proposal. There also should be a balance between the information presented and the scale of the program.

Second, give the reader hope. The picture you paint should not be so grim that the solution appears

hopeless. The funder will wonder whether an investment in a solution will be worthwhile. Here's an example of a

solid statement of need: "Breast cancer kills. But statistics prove that regular check-ups catch most breast cancer

in the early stages, reducing the likelihood of death. Hence, a program to encourage preventive check-ups will reduce

the risk of death due to breast cancer. "Avoid overstatement and overly emotional appeals.

Third, decide if you want to put your project forward as a model. This could expand the base of potential funders,

but serving as a model works only for certain types of projects. Don't try to make this argument if it doesn't

really fit. Funders may well expect your agency to follow through with a replication plan if you present your

project as a model. If the decision about a model is affirmative, you should document how the problem you

are addressing occurs in other communities. Be sure to explain how your solution could be a solution for others as well.

Fourth, determine whether it is reasonable to portray the need as acute. You are asking the funder to pay more

attention to your proposal because either the problem you address is worse than others or the solution you propose

makes more sense than others. Here is an example of a balanced but weighty statement: "Drug abuse is a national

problem. Each day, children all over the country die from drug overdose. In the South Bronx the problem is worse. More

children die here than any place else. It is an epidemic. Hence, our drug prevention program is needed more in

the South Bronx than in any other part of the city."

Fifth, decide whether you can demonstrate that your program addresses the need differently or better

than other projects that preceded it. It is often difficult to describe the need for your project without being critical

of the competition. But you must be careful not to do so. Being critical of other nonprofits will not be well received

by the funder. It may cause the funder to look more carefully at your own project to see why you felt you had to build

your case by demeaning others. The funder may have invested in these other projects or may begin to consider them, now

that you have brought them to their attention. If possible, you should make it clear that you are cognizant of,

and on good terms with, others doing work in your field. Keep in mind that today's funders are very interested in

collaboration. They may even ask why you are not collaborating with those you view as key competitors. So at the least you

need to describe how your work complements, but does not duplicate, the work of others.

Sixth, avoid circular reasoning. In circular reasoning, you present the absence of your solution as the

actual problem. Then your solution is offered as the way to solve the problem. For example, the circular reasoning

for building a community swimming pool might go like this: "The problem is that we have no pool in our community.

Building a pool will solve the problem." A more persuasive case would cite what a pool has meant to a neighboring

community, permitting it to offer recreation, exercise, and physical therapy programs. The statement might refer to

a survey that underscores the target audience's planned usage of the facility and conclud with the connection between

the proposed usage and potential benefits to enhance life in the community. The statement of need does not have to

be long and involved. Short, conciseinformation captures the reader's attention.

The Project Description

This section of your proposal should have five subsections:

objectives,

methods,

staffing/administration,

evaluation, and

sustainability.

Together, objectives and methods dictate staffing and administrative requirements. They then become the

focus of the evaluation to assess the results of the project. The project's sustainability flows directly from its

success, hence its ability to attract other support. Taken together, the five subsections present an interlocking

picture of the total project.

Objectives

Objectives are the measurable outcomes of the program. They define your methods. Your objectives must be tangible,

specific, concrete, measurable, and achievable in a specified time period. Grantseekers often confuse objectives with goals,

which are conceptual and more abstract. For the purpose of illustration, here is the goal of a project with a subsidiary objective:

Goal: Our after-school program will help children read better.

Objective: Our after-school remedial education program will assist 50 children in improving their reading scores

by on grade level as demonstrated on standardized reading tests administered after participating in the program for

six months. The goal in this case is abstract: improving reading, while the objective is much more specific.

It is achievable in the short term (six months) and measurable (improving 50 children's reading scores by one grade

level). With competiton for dollars so great, well-articulated objectives are increasingly critical to a proposal's

success.

Using a different example, there are at least four types of objectives:

1. Behavioral — A human action is anticipated.

Example: Fifty of the 70 children participating will learn to swim.

2. Performance — A specific time frame within which a behavior will occur, at an expected proficiency level, is expected.

Example: Fifty of the 70 children will learn to swim within six months and will pass a basic swimming proficiency test

administered by a Red Cross-certified lifeguard.

3. Process — The manner in which something occurs is an end in itself.

Example: We will document the teaching methods utilized, identifying those with the greatest success.

4. Product — A tangible item results.

Example: A manual will be created to be used in teaching swimming to this age and proficiency group in the future.

In any given proposal, you will find yourself setting forth one or more of these types of objectives, depending on the

nature of your project. Be certain to present the objectives very clearly. Make sure that they do not become lost in

verbiage and that they stand out on the page. You might, for example, use numbers,

bullets, or indentations to denote the objectives in the text. Above all, be realistic in setting objectives. Don't

promise what you can't deliver. Remember, the funder will want to be told in the final report that the project actually

accomplished these objectives.

Methods

By means of the objectives, you have explained to the funder what will be achieved by the project. The methods section

describes the specific activities that will take place to achieve the objectives. It might be helpful to divide

our discussion of methods into the following:

how,

when, and

why.

How: This is the detailed description of what will occur from the time the project begins until it is completed.

Your methods should match the previously stated objectives.

When: The methods section should present the order and timing for the tasks. It might make sense to provide a

timetable so that the reader does not have to map out the sequencing on his or her own....

The timetable tells the reader "when" and provides another summary of the project that supports the rest of the

methods section.

Why: You may need to defend your chosen methods, especially if they are new or unorthodox. Why will the

planned work lead to the outcomes you anticipate? You can answer this question in a number of ways, including

using expert testimony and examples of other projects that work. The methods section enables the reader to

visualize the implementation of the project. It should convince the reader that your agency knows what it is doing,

thereby establishing its credibility.

Staffing/Administration

In describing the methods, you will have mentioned staffing for the project. You now need to devote a few sentences to

discussing the number of staff, their qualifications, and specific assignments. Details about individual staff

members involved in the project can be included either as part of this section or in the appendix, depending on the

length and importance of this information.

"Staffing" may refer to volunteers or to consultants, as well as to paid staff. Most proposal writers do not develop

staffing sections for projects that are primarily volunteer run. Describing tasks that volunteers will undertake,

however, can be most helpful to the proposal reader. Such information underscores the value added by the

volunteers as well as the cost-effectiveness of the project. For a project with paid staff, be certain to describe

which staff will work full time and which will work part time on the project. Identify staff already employed by your

nonprofit and those to be recruited specifically for the project. How will you free up the time of an already

fully deployed individual?

Salary and project costs are affected by the qualifications of the staff. Delineate the practical

experience you require for key staff, as well as level of expertise and educational background. If an individual

has already been selected to direct the program, summarize his or her credentials and include a brief biographical

sketch in the appendix. A strong project director can help influence a grant decision. Describe for the reader

your plans for administering the project. This is especially important in a large operation,if more than one agency

is collaborating on the project, or if you are using a fiscal agent. It needs to be crystal clear who is responsible

for financial management, project outcomes, and reporting.

Evaluation

An evaluation plan should not be considered only after the project is over; it should be built into the project.

Including an evaluation plan in your proposal indicates that you take your objectives seriously and want to know how

well you have achieved them. Evaluation is also a sound management tool. Like strategic planning, it helps a

nonprofit refine and improve its program. An evaluation can often be the best means for others to learn from your

experience in conducting the project. There are two types of formal evaluation. One measures the product; the other

analyzes the process. Either or both might be appropriate to your project. The approach you choose wil depend on

the nature of the project and its objectives. For either type, you will need to describe the manner in which evaluation

information will be collected and how the data will be analyzed. You should present your plan for how the

evaluation and its results will be reported and the audience to which it will be directed. For example,

it might be used internally or be shared withthe funder, or it might deserve a wider audience. A funder might even

have an opinion about the scope of this dissemination.

Sustainability

A clear message from grantmakers today is that grantseekers will be expected to demonstrate in very concrete ways

the long-term financial viability of the project to be funded and of the nonprofit organization itself. It stands

to reason that most grantmakers will not want to take on a permanent funding commitment to a particular agency.

Rather, funders will want you to prove either that your project is finite (with start-up and ending dates); or that

it is capacity-building (that it will contribute to the future self-sufficiency of your agency and/or enable it to

expand services that might be revenue generating); or that it will make your organization attractive to other funders

in the future. With the new trend toward adopting some of the investment principles of venture capital groups to the

practice of philanthropy, evidence of fiscal sustainability becomes a highly sought-after characteristic of the

successful grant proposal.

It behooves you to be very specific about current and projected funding streams, both earned income and fundraised,

and about the base of financial support for your nonprofit. Here is an area where it is important to have backup

figures and prognostications at the ready, in case a prospective funder asks for these, even though you are

unlikely to include this information in the actual grant proposal. Some grantmakers, of course, will want to

know who else will be receiving a copy of this same proposal. You should not be shy about sharing this information

with the funder.

The Budget

The budget for your proposal may be as simple as a one-page statement of projected expenses. Or your proposal may

require a more complex presentation, perhaps including a page on projected support and revenue and notes explaining

various items of expense or of revenue.

Expense Budget

As you prepare to assemble the budget, go back through the proposal narrative and make a list of all personnel

and nonpersonnel items related to the operation of the project. Be sure that you list not only new costs that will be

incurred if the project is funded but also any ongoing expenses for items that will be allocated to the project. Then

get the relevant costs from the person in your agency who is responsible for keeping the books. You may need to

estimate the proportions of your agency's ongoing expenses that should be charged to the project and any new costs, such

as salaries for project personnel not yet hired. Put the costs you have identified next to each item on your list.

PutYour list of budget items and the calculations you have done to arrive at a dollar figure for each item

should be summarized on worksheets. You should keep these to remind yourself how the numbers were developed. These

worksheets can be useful as you continue to develop the proposal and discuss it with funders; they are also a

valuable tool for monitoring the project once it is under way and for reporting after completion of the grant. A

portion of a worksheet for a year-long project might look like this:

Item Description Cost

Executive director Supervision 10% of salary = $10,000 25% benefits = $ 2,500

Project director Hired in month one 11 months at $35,000 = $32,083, 25% benefits = $ 8,025

Tutors

12 working 10 hours per week for three months 12 x 10 x 13 x $ 4.50 = $ 7,020

Office Requires 25% of 25% x $20,000 = $ 5,000

Overhead 20% of project cost 20% x $64,628 = $12,926

With your worksheets in hand, you are ready to prepare the expense budget. For most projects, costs should be grouped

into subcategories, selected to reflect the critical areas of expense. All significant costs should be broken out

within the subcategories, but small ones can be combined on one line. You might divide your expense budget into

personnel and nonpersonnel costs; your personnel subcategories might include salaries, benefits, and consultants.

Subcategories under nonpersonnel costs might include travel, equipment, and printing, for example, with a dollar

figure attached to each line.

Support and Revenue and Statement

For the typical project, no support and revenue statement is necessary. The expense budget represents the amount

of grant support required. But if grant support has already been awarded to the project, or if you expect project

activities to generate income, a support and revenue statement is the place to provide this information. In itemizing

grant support, make note of any earmarked grants; this will suggest how new grants may be allocated.

The total grant support already committed should then be deducted from the “Total Expenses” line on the expense

budget to give you the “Amount to Be Raised” or the “Balance Requested.”Any earned income anticipated should be

estimated on the support and revenue statement. For instance, if you expect 50 people to attend your performance on each of

the four nights, it is given at $10 a ticket, and if you hope that 20 of them will buy the $5 souvenir book each

night, you would show two lines of income, “Ticket Sales” at $2,000 and “Souvenir Book Sales” at $400. As with the

expense budget, you should keep backup worksheets for the support anddsrevenue statement to remind yourself of

the assumptions you have made.

Budget Narrative

A narrative portion of the budget is used to explain any unusual line items in the budget and i not always

needed. If costs are straightforward and the numbers tell the story clearly,explanations are redundant.

If you decide a budget narrative is needed, you can structure it in one of two ways. You can create "Notes to the

Budget," with footnote-style numbers on the line items in the budget keyed to numbered explanations. If an extensive

or more general explanation is required, you can structure the budget narrative as straight text. Remember though, the

basic narrative about the project and your organization belong elsewhere in the proposal, not in the budget narrative.

Organizational Information and Conclusion

Organizational Information

Normally a resume of your nonprofit organization should come at the end of your proposal. Your natural inclination

may be to put this information up front in the document. But it is usually better to sell the need for your project

and then your agency's ability to carry it out. It is not necessary to overwhelm the reader with facts about

your organization. This information can be conveyed easily by attaching a brochure or other prepared statement. In

two pages or less, tell the reader when your nonprofit came into existence; state its mission, being certain

to demonstrate how the subject of the proposal fits within or extends that mission; and describe the organization's

structure, programs, and special expertise. Discuss the size of the board, how board members are recruited, and their

level of participation. Give the reader a feel for the makeup of the board. (You should include the full board list

in an appendix.) If your agency is composed of volunteers or has an active volunteer group, describe the function

that the volunteers fill. Provide details on the staff, including the numbers of full and part-time staff, and their

levels of expertise. Describe the kinds of activities in which your staff engage. Explain briefly the assistance you

provide. Describe the audience you serve, any special or unusual needs they face, and why they rely on your

agency. Cite the number of people who are reached through your programs. Tying all of the information about your

nonprofit together, cite your agency's expertise, especially as it relates to the subject of your proposal.

Letter Proposal

Sometimes the scale of the project might suggest a small-scale letter format proposal, or the type of request might not

require all of the proposal components or the components in the sequence recommended here. The guidelines and policies

of individual funders will be your ultimate guide. Many funders today state that they prefer a brief letter proposal;

others require that you complete an application form. In any case, you will want to refer to the basic proposal

components as provided here to be sure that you have not omitted an element that will suppor your case.

As noted, the scale of the project will often determine whether it requires a letter or the longer proposal

format. For example, a request to purchase a $1,000 fax machine for your agency simply does not lend itself to a lengthy

narrative. A small contribution to your agency’s annual operating budget, particularly if it is a renewal of

past support, might also warrant a letter rather than a full-scale proposal.

What are the elements of a letter request?

For the most part, they should follow the format of a full proposal, except with regard to length. The letter should

be no more than three pages. You will need to call upon your writing skills because it can be very hard to get all

of the necessary details into a concise, well-articulated letter. As to the flow of information, follow these

steps while keeping in mind that you are writing a letter to someone. It should not be as formal in style as a

longer proposal would be. It may be necessary to change the sequence of the text to achieve the correct tone and

the right flow of information.

Here are the components of a good letter proposal:

· Ask for the gift: The letter should begin with a reference to your prior contact with the funder, if any. State

why you are writing and how much funding is required from the particular foundation.

· Describe the need: In a very abbreviated manner, tell the funder why there is a need for this project, piece of

equipment, etc.

· Explain what you will do: Just as you would in a fuller proposal, provide enough detail to pique the funder’s

interest. Describe precisely what will take place as a result of the grant.

· Provide agency data:

Help the funder know a bit more about your organization by including your mission statement, brief description of

programs offered, number of people served, and staff,volunteer, and board data, if appropriate.

· Include appropriate budget data:

Even a letter request may have a budget that is a half page long. Decide if this information should be incorporated

into the letter or in a separate attachment. Whichever course you choose, be sure to indicate the total cost of the

project. Discuss future funding only if the absence of this information will raise questions.

· Close:

As with the longer proposal, a letter proposal needs a strong concluding statement.

· Attach any additional information required:

The funder may need much of the same information to back up a small request as a large one: a board list, a copy of

your IRS determination letter, financial documentation, and brief resumes of key staff. It may take as much

thought and data gathering to write a good letter request as it does to prepare a full proposal (and sometimes even

more). Don’t assume that because it is only a letter, it isn’t a time-consuming and challenging task.

Every document you put in front of a funder says something about your agency. Each step you take with a funder

should build a relationship for the future.

Conclusion

Every proposal should have a concluding paragraph or two. This is a good place to call attentio to the future,

after the grant is completed. If appropriate, you should outline ome of the follow-up activities that might be

undertaken to begin to prepare your funders for your next request. Alternatively, you should state how the

project might carry on without further grant support. This section is also the place to make a final appeal for

your project. Briefly reiterate what your nonprofit wants to do and why it is important. Underscore why your agency

needs funding to accomplish it. Don't be afraid at this stage to use a bit of emotion to solidify your case.

What Happens Next?

Submitting your proposal is nowhere near the end of your involvement in the grantmaking process. Grant review

procedures vary widely, and the decision-making process can take anywhere from a few weeks to six months or

more. During the review process, the funder may ask for additional information either directly from you or

from outside consultants or professional references. Invariably, this is a difficult time for the grantseeker.

You need to be patient but persistent. Some grantmakers outline their review procedures in annual reports or application

guidelines. If you are unclear about the process, don't hesitate to ask. If your hard work results in a grant,

take a few moments to acknowledge the funder's support with a letter of thanks. You also need to find out whether

the funder has specific forms, procedures, and deadlines for reporting the progress of your project. Clarifying

your responsibilities as a grantee at the outset, particularly with respect to financial reporting, will

prevent misunderstandings and more serious problems later. Nor is rejection necessarily the end of the process.

If you're unsure why your proposal was rejected, ask. Did the funder need additional information? Would they be

interested in considering the proposal at a future date? Now might also be the time to begin cultivation of a

prospective funder. Put them on your mailing list so that they can become further acquainted with your organization.

Remember, there's always next year.

Grant Makers Reveal the Most Common Reasons Grant Proposals Get Rejected By Marilyn Dickey

Eighty percent of the grant applications that cross Debbie Rey's desk are immediately rejected. Ms. Rey

supervises the central proposals-processing office at the W.K. Kellogg Foundation, in Battle Creek, Mich., where the

bulk of the proposals to the foundation are first vetted. The reason so many don't pass muster: The applicants

didn't do their legwork. They may have glanced at the grant maker's Web site, she says, but they didn't dig deeper

to learn Kellogg's specific grant-making priorities. "A lot of people, when they're doing research,read the philosophy

statement,but they don't go into the detail, into the different departments to see what initiatives we have going

on," she says. Ms. Rey echoes the sentiments of many grant makers: Nothing is more important when applying for

a grant than having the right information.In their haste to win money at a time when many

foundations are reducing their grant making, many charities skip over steps that could make the process go more

smoothly --and that may even make the difference between winning a grant and getting turned down. Missteps

happen all the time, including math errors and omitted contact names and numbers. Some charities take a blanket

approach, sending out a proposal to as many grant makers as they can, on the theory that one is bound to click,

says Jim Durkan, president of the Community Memorial Foundation, in Hinsdale, Ill. "They don't spend the

time upfront to really research and see if there's a match," he says. "I always say that the time they spend researching

will be returned tenfold."

Where to Start

The first places many grant seekers think of are Web sites for the Foundation Center, a clearinghouse of information

about grant makers with offices in New York and Washington, and GuideStar, which gathers financial information about

foundations and charities, in Willamsburg, Va. Both of these sites have searchable online databases on grant makers.

But they are only starting points, says Katherine T. Freshley, senior program officer at the Eugene and Agnes E. Meyer

Foundation, in Washington. The information on those sites is not meant to be comprehensive, she says. Only

highlights are presented, and they can be misleading if the grant seeker doesn't dig further. "Sometimes people go

to the Foundation Center site and look up funders that support in a particular area and they get wowed by the size of

many of those grants. But often the Foundation Center picks the highest grants to profile, so it skews what is normally

possible," says Ms. Freshley. "There may be a really good reason why an organization has been given a large

grant -- it may be for a capital campaign, for example." Charities should take a look at the grant maker's

Web site, annual report, and informational tax return, she says. Those sources can hold a gold mine of information

about the foundation's assets, past grants, giving priorities, contact names, and guidelines for seeking grants.

Careful examination of an organization's Web site can help grant seekers draw connections that may aid them in

preparing their applications, says David Littlefield, communications officer at the California Wellness

Foundation, in Woodland Hills. For instance, he says, "We have an environmental health area that some people might

not think of as health -- the impact of things like a safe work space on health."

A look at the Lilly Endowment's Web site shows that it has geographic limits for most of its grants. "We do a

lot of education grant making, but it's virtually all in Indiana," says Gretchen Wolfram, communications

director of the foundation in Indianapolis. If, after pouring over the available information, a charity

still questions whether its programs are a good fit, it should check with the foundation, says Andrea L. Reynolds, chief

operating officer of the Community Foundation of Greater Memphis. Large foundations often take time for a

five-minute chat with a potential grantee. The Community Foundation of Greater Memphis will even meet face-to-face

with people who want to apply for a grant.

Follow Directions

Once a charity identifies a foundation that's a likely prospect, carefully following the guidelines is key,

emphasizes Ms. Freshley. Rules exist for a reason, she says. "When wesay 10 pages, we're really serious

about that," she says. Some people, she says, just squeeze 12 pages' worth of type onto 10 pages by using small

type and narrow margins.

"It just makes the program officers work harder," says Ms. Freshley. "They may be reading 250 proposals. You

don't want people to have to dig through your information to find the kernel of what you're talking about." One

sign of an amateur writer, she says, is a proposal that includes five programs that need support and asking

the foundation to take its pick. "Avoid fishing expeditions," she advises. Tailor the proposal to a particular

program. Just as some charities send out proposals to many foundations simultaneously, they may also blanket a

particular grant maker with applications. Instead, Ms. Rey suggests, it's best to find out who the grant

maker's contact person is and send the proposal only to that person. "Don't submit multiple copies of the same

proposal to more than one person," she advises. "Some think it may increase the chances, but it doesn't.

It just causes confusion, and it's hard for us to keep track." And on the application, be clear about who the

contact person is, and that the phone number and e-mail address are correct, she adds: "Sometimes several people sign

a letter and it's unclear who to contact."

Do the Math

Some common problems don't necessarily hurt a charity's chances of winning a grant. They just make the process more

time-consuming. For example, writing a proposal by hand is generally acceptable unless the handwriting is

illegible, says Ms. Reynolds. "We don't have problems with handwritten proposals because we are dealing with a

lot of grass-roots groups without access to computers," she says. Math mistakes in particular takes time to iron

out, says Mr. Littlefield. The California Wellness Foundation recently awarded 11 grants, of which three applications

had math problems, he says.Still, he says, calculations should be double-checked before sending out the proposal.

"It's really important to have a treasurer from the board or a finance staff member review the budget to be sure line

items are appropriate and reflect the real costs," says Mr. Littlefield. "When program staff without a strong

finance background do the work, details often get missed." It's not enough for the math to be right, says Ms.

Reynolds -- it also needs to be realistic. If a charity submits a proposal with a three-year budget that calls for $100,000 in

the first year, $200,000 in the second, and $1-million in the third, it would give her pause. She would be taking a

closer look at how the organization has planned its programs, and how it intends to meet such lofty revenue goals,

she says: "I would be concerned about the ability to get those kinds of funds."

Success Boosters

Proposals most likely to catch a foundation's attention are those that convey plans to use the grant money

to bring in other money, says Jane S. Englebardt, executive director of the Hasbro Children's Foundation, in New

York. "Being able to use that money effectively is what foundations are after," she says.

A proposal, she says, should spell out a charity's plans for using the grant to make the most of a charity's

resources, along the lines of: "This funding will help us match government funding," "This funding will enable us to

utilize volunteers to complement the work of professionals," or "'This will allow us to create a training program

to expand our services without asking for more money each year." Wording is key, she says. Don't write, "We're running

out of money," but rather, "We have a wonderful program, but we want to make it more cost-effective." When it comes

to seeking grants, success breeds success. If a charity can show it has other grants, that's a plus, says Ms.

Englebardt. "National foundations look for organizations that are supported in their communities," she says, "so we

know they're going to be strong and sustainable." Organizations with no track record have a different

challenge, she says. Startup organizations have to explain their programs in terms of how they will address some

gap-- for example, addressing an underserveing population. "Identify the gap and the service needed

to fill that gap and how you propose to deliver that service," she says.

Patience and Persistence

Foundations are often flooded with proposals, so it takes time to sort through them, says Ms. Rey. The Kellogg

Foundation, she says, receives thousands of proposals each year --and it could take applicants as long as 12 weeks

to get a response. That also means that if charities want something financed by a particular time of year, they

need to start early. "A lot of times, especially on the holidays after Thanksgiving, we'll start getting

letters of support for Christmas," she says. "We're at year end, so we won't be funding those."

Grant requests are turned down for all sorts of reasons, many of which do not reflect badly on the program, says Ms.

Englebardt. "Just because they didn't get a grant is not a comment on the quality of their program," she says.

"The hard part is none of the foundations have the resources to fund everything that fits their guidelines. That's the

heartbreaker." "Each foundation has its own strategy about how it is trying to make a change in the world," she adds.

"They're trying to put together the pieces that make that change. And there is a certain amount of luck in being

one of those pieces in a market like this where there just isn't enough funding." Not getting a grant doesn't

necessarily mean a door has been permanently closed, says Jane C. Geever, a fund-raising consultant and author of

The Foundation Center's Guide to Proposal Writing (2001, $34.95). Charities may be able to win money during

another grant-makng cycle. In fact, it's a good idea to give the foundation a call to find out why a proposal was

rejected, she says. "Most grant makers say that if the agency is a fit, they will encourage the organization to

come back with another proposal," says Ms. Geever. "Everybody has time frames in terms of how long you have to wait.

" Even if it's unlikely the charity will get a future grant, foundations are often willing to suggest other grant

makers to which the charity might apply. When the Community Foundation of Greater Memphis declines a grant, it

sends a letter offering to talk with the applicant about the reasons. "Very few people take advantage of that," says

Ms. Reynolds. "It's surprising. "From beginning to end, grant seeking is all about good communication, says Mr. Durkan:

"It really comes down to relationships and getting to know people."

FUNDING FOR INDIVIDUALS:

A Bibliography Compiled by Janice Rosenberg

The following is a selective bibliography of publications relevant to the individual grantseeker. The publications were selected from a variety of sources. Entries with a descriptive abstract were taken from the Foundation Center's bibliographic database. The bibliography is divided into these sections:

General

Arts and Humanities International Travel and Study Media and Communications Medicine and Health Minorities and Special Populations

Research

Scholarships, Fellowships, and Loans Women Writing

GENERAL Annual Register of Grant Support: A Directory of Funding Sources. 36th ed. Medford, NJ: Information Today, Inc., 2002.

Includes details of the grant programs of government agencies, public and private foundations, corporations, community trusts, unions, educational and professional associations, and special interest organizations. Broad subject coverage includes academic and scientific research, project development, travel and exchange programs, publication support, equipment and construction grants, competitive awards, and prizes.

Each complete program description contains details of the type, purpose, and duration of the grant; amount of funding available for each award and for the entire program; eligibility requirements; geographic restrictions; and the number of applicants and recipients. Published annually.

URL: http://www.infotoday.com

Baynes, Louise, ed. The Grants Register 2003. 21st ed. New York: Palgrave Macmillan LTD, 2002.

Lists awards, scholarships, and fellowships at all levels of graduate study, from regional, national, and international sources. Includes awards, prizes, and residencies for writers, visual artists, and performing artists.

Entries provide contact information, subject, eligibility, purpose, type, number of awards offered, frequency, amount of award, length of study, country of study, and application procedures. Includes subject and eligibility guide to awards. Published annually.

Catalog of Federal Domestic Assistance.

Executive Office of the President. Office of Management and Budget, and General Services Administration. Washington, DC: U.S. Government Printing Office, 2002.

Official directory of over 1,400 federal programs that provide assistance to American organizations, institutions, and individuals. Includes programs open to individual applicants or for individual beneficiaries in the areas of agriculture, commerce, community development, consumer protection, arts and culture, education, employment, energy, environmental quality, nutrition, health, housing, social services, information sciences, law, natural resources, regional development, science and technology, and transportation.

Arranged by administering agency, with indexes by applicant eligibility, subject, and authorizing legislation. Published annually, with a semi-annual update. URL: http://www.cfda.gov Margolin, Judith B. The Individual's Guide to Grants. New York: Kluwer Academic/Plenum Publishers,1983. An excellent starting guide to grantseeking for individuals. Discusses finding a sponsor or umbrella group, identifying and researching potential funders, writing and submitting proposals, and following up successful and rejected grant applications. Chapter two is particularly useful in explaining the role of institutional affiliation or project sponsorship.

URL: http://www.wkap.nl

Webster, Valerie J., ed. Awards, Honors, and Prizes. Volume 1: United States and Canada. 21st ed. Farmington Hills, MI: Gale Group, Inc., 2002.

Directory of approximately 21,600 awards recognizing achievement in a wide variety of fields, including arts, business, communications, science, and public affairs. Sponsors are foundations, corporations, universities, nonprofit organizations, and governments. Indexed by sponsoring organization, award, and subject area.

URL: http://www.gale.com

Webster, Valerie J., ed. Awards, Honors, and Prizes. Volume 2: International and Foreign. 21st ed. Farmington Hills, MI: Gale Group, Inc., 2002. Contains descriptions of more than 8,000 awards offered by organizations in countries outside the U.S. and Canada. Arranged by country, with indexes by organization, award name, and subject area.

URL: http://www.gale.com

ARTS AND HUMANITIES

American Art Directory 2003-2004. 59th ed. New Providence, NJ: National Register Publishing Co., 2003. Includes a section on scholarships and fellowships awarded by colleges and universities, art schools, and arts organizations.

URL:http://www.nationalregisterpub.com

Artists' Communities: A Directory of Residencies in the United States That Offer Time and Space for Creativity. 2nd ed. New York: Allworth Press, 2000. Lists 70 nonprofit residencies for performing and visual artists, composers, and writers, with basic information about programs, facilities, participants, and application procedures.

URL: http://www.allworth.com

Christensen, Warren, and Ron Clawges, eds. National Directory of Arts Internships. 9th ed. Los Angeles: National Network for Artist Placement, 2003. Profiles 5,000 internship opportunities offered by 1,250 host organizations. Presents a broad range of disciplines, including arts management, dance, theater, music, literature, film and video, photography performing arts, and design. Entries give brief program description and eligibility requirements.

URL: http://www.artistplacement.com

Crawford, Tad. Legal Guide for the Visual Artist. 4th ed. New York: Allworth Press, 1999. Provides information for artists on copyright law, sales and commissions contracts, publishing and reproduction rights, and taxation. Includes a short section on researching grants and contact information for artists' organizations and state arts councils.

URL: http://www.allworth.com

Directory of Grants in the Humanities 2002/2003. 16th ed. Phoenix: Oryx Press, 2002. Directory contains more than 3,650 programs by foundations, federal and state government agencies, corporations, and professional organizations and associations. Indexed by subject, sponsoring organization, program type, and geographic area. Published annually.

E-mail: info@oryxpress.com; URL: http://www.oryxpress.com.

Grant, Daniel. The Business of Being an Artist. 3rd edition.

New York: Allworth Press, 2000.

URL: http://www.allworth.com

Michels, Caroll. How to Survive and Prosper as an Artist: Selling Yourself Without Selling Your Soul. 5th ed. New York: Henry Holt & Co., 2001. Includes a chapter on grantseeking, and an appendix of useful resources, including art colonies and residencies, publications with internships and apprenticeships, competitions, arts organizations, and an annotated bibliography on grants and funding.

E-mail: publicity@hholt.com ; URL: http://www.hholt.com

Middleton, Robyn, et. al. Artists and Writers Colonies: Retreats, Residencies, and Respites for the Creative Mind. 2nd ed. Portland, OR: Blue Heron Publishing, Inc., 2000. Includes more than 260 programs for the U.S. and overseas. Indexed by geographic area, with information on places for photographers, poets, playwrights, screenwriters, fiction and nonfiction writers, visual artists,performing artists, scientists, journalists, and scholars. Moran-Lever, Terry, ed. Musical America: International Directory of the Performing Arts. East Windsor,NJ: Commonwealth Business Media, Inc., 2003. Includes a "Contests, Foundations, and Awards" section with information on scholarships, fellowships, prizes, and competitions in music and dance. Published annually.

URL: http://www.musicalamerica.com

Richmond, Eero, ed. Opportunities in New Music. 10th ed. New York: The American Music Center, 2002. A listing of ongoing American and foreign competitions, grants, commissioning programs, workshops, calls for scores, and artist's colonies. Includes opportunities for performers, both individuals and ensembles, in jazz and contemporary concert music, with subject index.

URL: http://www.amc.net

Schlachter, Gail Ann, and R. David Weber. Money for Graduate Students in the Humanities 2001-2003. El Dorado Hills, CA: Reference Service Press, 2001.

URL: http://www.rspfunding.com

Wilder, Judith Luther. Breaking Through the Clutter: Business Solutions for Women, Artists, and Entrepreneurs. Los Angeles: National Network for Artist Placement, 1999 A guide for artists who want to create business plans, market their work, reach an audience, and seek outside funding.

URL: http://www.artistplacement.com

Internet Sources

Americans for the Arts

(http://www.artsusa.org)

Information clearinghouse that provides material on funding for individuals in all areas of the arts.

American Society of Composers, Authors, and Publishers Awards Programs

(http://www.ascap.com/about/ support.html)

Lists prizes and awards to composers in various areas of music.

Arts Deadlines List

(http://artdeadlineslist.com)

Monthly Internet publication with funding opportunities in the visual arts. BMI Foundation Awards, Scholarships, Internships, and Funds

(http://www.bmi.com/ bmifoundation/index.asp)

Describes programs established to encourage young composers and support the work of accomplished concert-music composers in such areas as classical music, jazz, and musical theater. Circum-Arts

(http://www.circum.org)

An arts service organization with the mission to assist, advocate and encourage performing artists and visual arts projects. Services include fiscal sponsorship and grantwriting. Creative Capital's Artist Toolbox (http://www.creative-capital.org/general/html/toolbox.html)

A listing of career-resource sites for individual artists.

Grammy Foundation

(http://grammy.aol.com/foundation)

Provides information on grants that support the archiving and preserving of the music and recorded sound heritage of the Americas. Musical Online

(http://www.musicalonline.com/ foundation_grants.htm)

A compilation of funding resources including foundations and associations, grants, scholarships, and organizations. National Endowment for the Arts

(http://arts.endow.gov)

Provides information on fellowships in the areas of poetry, prose, music, and the arts. New York Foundation for the Arts (NYFA)

(http://www.nyfa.org/Artists.html)

Provides information on fellowships and fiscal sponsorship for artists. NYFA also has a listing of organizations that operate fiscal sponsorship programs for visual artists and a fact sheet for artists with disabilities, both available in PDF format. The Zuzu's Petals Literary Resource

(http://www.zuzu.com)

Literary site with links to a variety of grants organizations and art councils.

INTERNATIONAL TRAVEL AND STUDY

Academic Year Abroad, 2003. New York: Institute of International Education, 2003. Includes information on more than 2,900 semester and academic-year study abroad programs, most sponsored by U.S. colleges and universities. Arranged geographically, with indexes by level and field of study, sponsor, and tuition range.

E-mail: info@iie.org; URL: http://www.iie.org.

Fulbright and Related Grants for Graduate Study and Research Abroad: 2003-2004. New York: Institute of International Education, 2002. Describes fellowships available to U.S. graduate students, young professionals, and artists for study or research in over 100 foreign countries. Includes general program description and eligibility requirements.

Email: info@iie.org; URL: http://www.iie.org.

International Exchange Locator: A Resource Directory for Educational and Cultural Exchange. Washington, DC: Alliance for International Educational and Cultural Exchange, 2002. Arranged in six sections: Organizations involved in international exchanges, industry-specific exchanges, research/support organizations, foreign affairs agencies and exchange programs, other federal government exchanges, and key congressional committees and members of congress. Entries contain name and address of the organization, statement of purpose, types of exchange programs, availability of financial assistance, geographic focus, and a list of selected publications.

URL: http://www.alliance-exchange.org

Peterson's Scholarships for Study in the USA and Canada 2000. 3rd ed. Princeton, NJ: Peterson's Guides, 1999. Lists foundations, corporations, industry organizations, fraternal and ethnic organizations, community service groups, veterans' organizations, churches and other religious groups that have scholarship programs open to international applicants. Organized into ten broad categories, the entries include sponsoring organization,award name and description, eligibility requirements, application process, and contact information, including Web addresses.

URL: http:/www.petersons.com

Schlachter, Gail Ann, and R. David Weber. Financial Aid for Research and Creative Activities Abroad 2002-2004. El Dorado Hills, CA: Reference Service Press, 2002. Lists over 1,300 scholarships, fellowships, loans, grants, awards, and internships available for research, artistic, and professional pursuits abroad. Indexed by program title, sponsoring organization, geographic area, subject, and filing deadline.

URL: http://www.rspfunding.com

Schlachter, Gail Ann, and R. David Weber. Financial Aid for Study and Training Abroad 2001-2003. El Dorado Hills, CA: Reference Service Press, 2001. Describes more than 1,000 financial aid programs sponsored by government agencies, professional organizations, foundations, educational associations, and other public and private agencies. Includes an annotated bibliography of financial aid directories. Indexed by program title, sponsoring organization, geographic area, subject, and filing deadline.

URL: http://www.rspfunding.com

Short-Term Study Abroad 2003. 53rd ed. New York: Institute of International Education, 2003. Includes more than 2,700 programs sponsored by U.S. colleges and universities as well as foreign universities, language schools and other organizations.

E-mail: info@iie.org; URL: http://www.iie.org.

Study Abroad: Etudes a L'Etranger, Estudios en el Extranjero. 31st ed. Paris, France: United Nations Educational, Scientific and Cultural Organization, 1999. Profiles more than 2,600 international study programs in all academic and professional fields. Includes information about financial assistance offered by international organizations, governments, foundations, universities and other institutions in more than 120 countries. Indexed by organization and subject of study.

URL: http://www.unesco.org

Study Abroad 2003. 9th ed. Lawrenceville, NJ: Peterson's

Guides, 2002.

URL: http://www.petersons.com.

A complete A-Z guide to more than 1,900 overseas programs.

More Internet Sources

EduPASS! The SmartStudent Guide to Studying in the USA

(http://www.edupass.org)

Institute of International Education Online

(http://www.iie.org)

Includes information about international education and training programs, including Fulbright scholarships. International Documentary Association

(http://www.documentary.org/ resources/funding.html)

NAFSA: Association of International Educators

(http://www.nafsa.org)

Information on financial aid for foreign nationals studying in the United States: bibliographies and links to other information sites. Social Science Research Council

(http://www.ssrc.org)

Supports international fellowships and grant programs in the social sciences. Study in the USA

(http://www.studyusa.com)

Provides international students with information about hundreds of colleges, universities and English-language programs in the United States. StudyAbroad.com

(http://www.studyabroad.com/forum/ financial_aid.html)

Lists sources and tips on obtaining financial aid including minority scholarships, studying in countries such as Germany, England, Commonwealth Universities, France, and Turkey

MEDIA AND COMMUNICATIONS

The Journalist's Road to Success: A Career and Scholarship Guide. Princeton, NJ: Dow Jones Newspaper Fund, 2002. Annual guide to aid offered through schools and departments of journalism at U.S. and Canadian colleges and universities, by newspapers, professional societies, and miscellaneous sources. Section on grants specifically designed for minority students. Concludes with two-page bibliography and index. Published annually. Available online.

E-mail: newsfund@wsj.dowjones.com; URL: http://www.dowjones.com/newsfund

Schlachter, Gail Ann and R. David Weber. How to Pay for Your Degree in Journalism & Related Field 2002-2004. El Dorado Hills, CA: Reference Service Press, 2002.

URL: http://www.rspfunding.com

Wiese, Michael. The Independent Film and Videomaker's Guide. 2nd ed. Studio City, CA: Michael Wiese Productions, 1998. Chapters cover developing, distributing, financing, and marketing of independent film and television works. Extensive bibliography includes Web sites of interest.

URL: http://www.mwp.com

More Internet Sources

Association of Independent Video and Filmmakers

URL: http://www.aivf.org

Supports a variety of programs and services for the independent media community. Independent Television Service

(http://www.itvs.org/ producers/funding.html)

Funds proposals by independent producers and provides production, promotion, marketing and distribution support. Morrie Warshawski

(http://www.warshawski.com)

Provides an extensive bibliography on fundraising for independent film and video projects. National Endowment for the Humanities

(ttp://www.neh.fed.us)

Supports learning in all areas of the humanities and funds research and education.

MEDICINE AND HEALTH

Directory of Biomedical and Health Care Grants 2003. 17th ed. Phoenix, AZ: Oryx Press, 2003. Contains descriptions of more than 3,000 health-related funding programs. Areas covered include clinical and programmatic studies in gerontology and mental health; clinical studies of the cause, detection, and elimination of cancer; health care delivery and maintenance; and studies of infectious and immunologic diseases, including programs researching all areas related to AIDS. Provides each program's requirements (including eligibility statements), restrictions, contact information, deadlines, and funding amounts. Contains a subject index, a sponsoring organization index, and an index by program type. Published annually.

E-mail: info@oryxpress.com;

URL: http://www.oryxpress.com

Medical School Admission Requirements 2003-2004, United States and Canada. Washington, DC: Association of American Medical Colleges, 2002. Published annually.

URL: http://www.aamc.org

Schlachter, Gail Ann and R. David Weber. Money for Graduate Students in the Biological and Health Sciences 2001-2003. El Dorado Hills, CA: Reference Service Press, 2001. Describes 1,100 of the biggest and best fellowships, grants, and awards available to support graduate study, training, research, or creative activities in the biological and health sciences.

URL: http://www.rspfunding.com

Schlachter, Gail Ann and R. David Weber. RSP Funding for Nursing Students and Nurses 2002-2004. El Dorado Hills, CA: Reference Service Press, 2002. A list of scholarships, fellowships, grants, awards, loans, traineeships, and other funding programs in support of study, training, research, and creative activities for nursing students and nurses.

URL: http://www.rspfunding.com

MINORITIES AND SPECIAL POPULATIONS

Federal Benefits for Veterans and Dependents. Washington, DC: United States Department of Veterans Affairs, 2002.

URL: http://www.va.gov

Schaffert, Tim, ed. Pathways to Career Success for Minorities: A Resource Guide to Colleges, Financial Aid, and Work. Chicago, IL: J.G. Ferguson Publishing Company, 2000.

URL: http://www.fergpubco.com

Schlachter, Gail Ann and R. David Weber. Financial Aid for African Americans, 2001-2003. El Dorado Hills, CA: Reference Service Press, 2001.

URL: http://www.rspfunding.com

Schlachter, Gail Ann and R. David Weber. Financial Aid for Asian Americans, 2001-2003. El Dorado Hills, CA: Reference Service Press, 2001.

URL: http://www.rspfunding.com

Schlachter, Gail Ann and R. David Weber. Financial Aid for the Disabled and Their Families, 2002-2004. El Dorado Hills, CA: Reference Service Press, 2002. Lists hundreds of scholarships, loans, grants-in-aid, and awards from federal, state, and private sources, arranged by disability type, with subject, geographic, sponsor, and filing date indexes.

URL: http://www.rspfunding.com

Schlachter, Gail Ann and R. David Weber. Financial Aid for Hispanic Americans, 2001-2003. El Dorado Hills, CA: Reference Service Press, 2001.

URL: http://www.rspfunding.com

Schlachter, Gail Ann and R. David Weber. Financial Aid for Native Americans, 2001-2003. El Dorado Hills, CA: Reference Service Press, 2001.

URL: http://www.rspfunding.com

Schlachter, Gail Ann, and R. David Weber. Financial Aid for Veterans, Military Personnel and Their Dependents, 2002-2004. El Dorado Hills, CA: Reference Service Press, 2002. Lists more than 1,000 scholarships, grants-in-aid, loans and other benefit programs for Americans affiliated with the military, from federal, state, and private sources. Indexed by subject, sponsor, geographic area, and filing deadline.

URL: http://www.rspfunding.com

Schlachter, Gail Ann and R. David Weber. Funding for Persons with Visual Impairments. Large print ed. El Dorado Hills, CA: Reference Service Press, 2002.

URL: http://www.rspfunding.com

The 2003 Hispanic Scholarship Directory. 5th ed. Carlsbad, CA: WPR Publishing, 2002. Winds of Change Magazine's Annual College Guide for American Indians. Boulder, CO: Winds of Change, 2002.

E-mail: woc@indra.com; http://aises.uthscsa.edu/winds

RESEARCH

Directory of Research Grants. 28th ed. Phoenix, AZ: Oryx Press, 2003. Describes more than 5,100 grant programs that support research projects in medicine, the physical and social sciences, humanities and the arts, and education. Annotations describe program requirements with eligibility statements, program restrictions and exclusions, contacts, deadlines, and funding amounts. Indexed by subject, sponsoring organization, and program type (i.e., fellowships, travel grants). Published annually.

E-mail: info@oryxpress.com;

URL: http://www.oryxpress.com

Grants, Fellowships, and Prizes of Interest to Historians: 2000-2001. Washington, DC: American Historical Association Publications, 2000. Describes more than 450 organizations that grant fellowships, awards, and prizes to historians. Includes bibliography. Available online to members of AHA only.

URL: http://www.theaha.org

Hellebust, Lynn, ed. Think Tank Directory: A Guide to Nonprofit Public Policy Research Organizations.2nd ed. Topeka, KS: Government Research Service, 2001. Over 1,200 academic and independent research organizations are profiled, with information on their purposes, policy areas, research priorities, budgets and funding sources, publications, staff, and governance. Includes geographic and policy area indexes.

E-mail: grs@cjnetworks.com

International Research Centers Directory. 16th ed. Farmington Hills, MI: The Gale Group, 2002. More than 8,200 government, university, independent, nonprofit, and commercial research and development organizations in nearly 125 countries worldwide, indexed by name, subject, and country.

URL: http://www.gale.com

Schlachter, Gail Ann and R. David Weber. Money for Graduate Students in the Physical and Earth Sciences 2001-2003. El Dorado Hills, CA: Reference Service Press, 2001. Describes 800 of the biggest and best fellowships, grants, and awards available to support graduate study, training, research, or creative activities in the physical and earth sciences.

URL: http://www.rspfunding.com

Schlachter, Gail Ann and R. David Weber. Money for Graduate Students in the Social and Behavioral Sciences 2001-2003. El Dorado Hills, CA: Reference Service Press, 2001. Describes over 1,000 of the biggest and best fellowships, grants, and awards available to support graduate study, training, research, or creative activities in the social sciences.

URL: http://www.rspfunding.com

Schlachter, Gail Ann and R. David Weber. RSP Funding for Engineering Students 2002-2004. El Dorado Hills, CA: Reference Service Press, 2002. A list of 700 scholarships, fellowships, loans, awards, prizes, and internships available to undergraduate and graduate students majoring in engineering.

URL: http://www.rspfunding.com

Wood, Donna, ed. Research Centers Directory. 30th ed. Farmington Hills, MI: Gale Group, Inc., 2002. Guide to over 14,000 university-related and other nonprofit research organizations in 17 broad subject areas, providing information on programs, staffing, publications, and educational efforts. Includes subject, geographic, personal name, and master indexes. Published annually.

URL: http://www.gale.com

More Internet Sources

GrantsNet

(http://www.grantsnet.org)

National Endowment for the Humanities

(http://www.neh.fed.us)

Supports learning in all areas of the humanities and funds research and education. National Institutes of Health

(http://www.nih.gov)

Funds research and education in science and engineering through grants, contracts and cooperative agreements. National Science Foundation

(http://www.nsf.gov)

Funds research and education in science and engineering through grants, contracts and cooperative agreements. Social Science Research Council

(http://www.ssrc.org)

SCHOLARSHIPS, FELLOWSHIPS, AND LOANS

Cassidy, Daniel J. Dan Cassidy's Worldwide College Scholarship Directory. 5th ed. Franklin Lakes, NJ: Career Press, 2000.

URL: http://www.careerpress.com

Cassidy, Daniel J. Dan Cassidy's Worldwide Graduate Scholarship Directory. Franklin Lakes, NJ: Career Press, 2000 Lists America's top 1,000 scholarships for graduate and professional study plus 500 listings from 75 other countries around the world.

URL: http://www.careerpress.com

Cassidy, Daniel J. The Scholarship Book 2003: The Complete Guide to Private-Sector Scholarships, Grants, and Loans for the Undergraduate. Paramus, NJ: Prentice-Hall, 2002. Directory of 4,000 potential sources of aid for undergraduates. Describes scholarships awarded by foundations, associations, corporations, unions, and fraternal organizations.

Entries include scholarship name, address, telephone number, amount of award, deadline, subject area, and a short description. Provides a list of over 300 career organizations and a bibliography. Includes indexes by major fields of study and scholarship name, and a "quick find" index for state of residence, ethnic background, physical disabilities, and state of intended study. Book also includes CD-ROM.

URL: http://www.phdirect.com

Chronicle Financial Aid Guide 2002-2003: Scholarships and Loans for High School Students, College Undergraduates, Graduates, and Adult Learners. Moravia, NY: Chronicle Guidance Publications, Inc.,2002. Information on scholarship programs in all fields of study, from undergraduate to postdoctoral levels. Sources include public and private organizations. Indexed by sponsoring organization and subject area. Published annually.

URL: http://www.chronicleguidance.com

College Board Scholarship Handbook 2003. New York, NY: College Board Publications, 2002 . Descriptions of private and government scholarship and internship programs for undergraduates.

URL: http://www.collegeboard.com

College Blue Book: Scholarships, Fellowships, Grants, and Loans. 31st ed. New York: Macmillan Reference USA, 2003.Lists over 2,500 financial aid awards, arranged by area of study and type of recipient, and indexed by title,subject, sponsor, and academic level. Also available in CD-ROM format.

Fastweb.com, ed. The Complete Scholarship Book: The Biggest, Easiest Guide for Getting the Most Money for College. 3rd ed. Naperville, IL: Sourcebooks, Inc., 2000.

URL: http://www.sourcebooks.com

Getting Money for Graduate School. Lawrenceville, NJ: Peterson's Guides, 2002. Specifically targeted for the graduate and post-graduate student, this one-of-a-kind resource identifies more than 1,000 scholarships, grants, prizes, forgivable loans and fellowships available to help pay for these advanced studies. Guernsey, Lisa. College.edu: On-line Resources for the Cyber-Savvy Student. Version 6.0. Alexandria,VA: Octameron Associates, 2002. Recommended Web sites, with descriptions of how they are helpful to students in assessing colleges and in their search for scholarship funds.

E-mail: info@octameron.com;

URL: http://www.octameron.com

Leider, Anna. The A's and B's of Academic Scholarships. 23rd ed. Alexandria, VA: Octameron Associates, 2002. Describes in tabular form academic merit-based scholarships at over 1,200 colleges and universities.

E-mail: info@octameron.com;

URL: http://www.octameron.com

Leider, Anna. Loans and Grants from Uncle Sam: Am I Eligible and for How Much? 10th ed. Alexandria,VA: Octameron Associates, 2002. This book contains simple explanations and useful worksheets to help readers understand loans and grants offered by the U.S. government. Leider, Robert, and Anna Leider. Don't Miss Out: The Ambitious Student's Guide to Financial Aid. 27th ed. Alexandria, VA: Octameron Associates, 2002. Planning guide that discusses procedures and strategies for students seeking financial aid, with tips about public and private funding sources.

Special sections on academic and athletic scholarships, funding for women and minorities.

E-mail: info@octameron.com;

URL: http://www.octameron.com

Meeting College Costs: What You Need to Know Before Your Child and Your Money Leave Home. New York, NY: College Board Publications, 2003. This book provides insight into the application process and how aid eligibility is determined. Many worksheets are included to calculate expected eligibility for aid or financing. Need a Lift? to Educational Opportunities, Careers, Loans, Scholarships & Employment. 52nd ed. Indianapolis, IN: American Legion, 2002. Emphasis on scholarship opportunities for veterans and their dependents, or children of deceased or disabled veterans. Includes information on federal, state, and private sources of funding, American Legion benefit programs, and annotated bibliography.

E-mail: emblem@legion.org;

URL: http://www.legion.org

Peterson's College Money Handbook 2003. 20th ed. Lawrenceville, NJ: Peterson's Guides, 2002. Details on financial aid programs offered by over 1,800 American colleges and universities, along with general information about federal and state loan programs.

URL: http://www.petersons.com

Peterson's Scholarships, Grants and Prizes 2003. 7th ed. Lawrenceville, NJ: Peterson's Guides, 2002. Lists more than 2,500 private sources of financial aid, as well as state-controlled grant programs. Book includesa Windows-based scholarship database disk which allows users to conduct tailored searches and print a list of matching awards. (A Macintosh version of the disk may be requested from the publisher.)

URL: http://www.petersons.com

Schlachter, Gail Ann, and R. David Weber. The College Student's Guide to Merit and Other No-Need Funding, 2002-2004. El Dorado Hills, CA: Reference Service Press, 2002. More than 1,200 non-need-based funding programs for currently enrolled or returning students, with subject, geographic, and calendar date indexes.

URL: http://www.rspfunding.com

Schlachter, Gail Ann and R. David Weber. High School Senior's Guide to Merit and Other No-Need Funding 2002-2004. El Dorado Hills, CA: Reference Service Press, 2002.

URL: http://www.rspfunding.com

Schlachter, Gail Ann. How to Find out about Financial Aid and Funding: A Guide to Print, Electronic, and Internet Resources Listing Scholarships, Fellowships, Loans, Grants, Awards, and Internships. 2nd ed. El Dorado Hills, CA: Reference Service Press, 2002. An annotated bibliographic guide to the resources available for both undergraduate and graduate levels. Covers scholarships, grants to organizations, grants to individuals, awards or prizes, and internship opportunities. Entries indicate format of the item (Internet, electronic, or print), publisher, scope, and ordering information.

A separate section describes federal government Web sites. Indexed by title of work, author's name, publisher, geographic area, and subject.

URL: http://www.rspfunding.com

Schlachter, Gail Ann and R. David Weber. How to Pay for Your Degree in Business & Related Field 2002-2004. El Dorado Hills, CA: Reference Service Press, 2002.

URL: http://www.rspfunding.com

Schlachter, Gail Ann and R. David Weber. How to Pay for Your Degree in Education & Related Fields 2002-2004. El Dorado Hills, CA: Reference Service Press, 2002.

URL: http://www.rspfunding.com

Schlachter, Gail Ann, R. David Weber. Scholarships. 2002 ed. New York, NY: Simon & Schuster, 2001. Directory of scholarships that can be used at any undergraduate institution. The book is in four parts, and scholarships are organized by broad subject areas. Includes numerous indexes. Scholarship Almanac 2003. 5th ed. Lawrenceville, NJ: Peterson's Guides, 2002.

URL: http://www.petersons.com

Scholarships, Fellowships and Loans: A Guide to Education-Related Financial Aid Programs for Students and Professionals. 20th ed. Farmington Hills, MI: Gale Group, Inc., 2003. Lists a wide range of scholarships, fellowships, loans, grants, and awards not controlled by a college or university.

URL: http://www.gale.com

The Student Guide 2003-2004. Washington, DC: United States Department of Education, 2003. Published annually, this is the federal government's official guide to its financial aid programs, including Pell Grants, Stafford and Perkins Loans, PLUS Loans, and Work-Study. Includes general information on applications, eligibility, determination of need, and college tuition financing.

URL: http://studentaid.ed.gov

Vuturo, Christopher. The Scholarship Advisor: Hundreds of Thousands of Scholarships Worth More Than $1 Billion. New York, NY: Princeton Review, 2001. Weber, R. David, Douglas Bucher, and Gail Ann Schlachter. Kaplan Scholarships 2003. New York, NY: Simon & Schuster, 2002. Information on programs that offer significant and unrestricted scholarships combined with tips and advice on how to get them.

More Internet Sources

Academic Research Information System

(http://www.arisnet.com)

Provides both undergraduate and graduate students with information on scholarships, fellowships, grants, and internships in the arts, humanities, and sciences. AFL-CIO

(http://www.aflcio.org/ scholarships/scholar.htm)

Information on union-sponsored scholarships and aid. College Board's Scholarship Search (http://www.collegeboard.com) or

(http://apps.collegeboard.com/cbsearch_ss/ scholarshipsearch.jsp)

Users can create a personal profile of educational level, talents, and background to search among 2,000 undergraduate scholarships, loans, internships, and other financial aid programs from non-college sources.

Fastweb.com

(http://www.fastweb.com)

A scholarship search engine that prompts users to enter information about themselves, including area of study, and responds with an appropriate list of available scholarships.

Federal Student Aid

(http://studentaid.ed.gov)

The U.S. Department of Education's Federal Student Aid (FSA) programs, described on this Web site, are the largest source of student aid in America. The information provided is designed to assist college planning. It provides access to and information about the products and services that needed throughout the financial aid process. Finaid: The Financial Aid Information Page.

(http://www.finaid.org)

Links to funding sources such as scholarships, fellowships, and grants, some of which are focused towards those with particular needs or interests: disabled, minorities and international students. The Foundation Center's Youth in Philanthropy-Scholarship Information Page. See grant link below.

Grant for Youth in Philanthropy


(http://www.gradschools.com/info/ financial.html)

Petersons.com: Financing Education

(http://iiswinprd03.petersons.com/ finaid)

Provides help, guidance, and answers to frequently-asked questions on financial aid, as well as

information on organizations that offer private and federal loans. Petersons' Scholarship Search provides

information on over 1.6 million scholarships, grants, and prizes worth nearly $4 billion. (Free

registration is required in order to use the database) Scholarship Resource Network Express

(http://www.srnexpress.com) Wired Scholar

(http://www.wiredscholar.com/paying/ content/index.jsp)

This site offers guidance on college preparation, evaluation, selection, application, and financing. Free registration is

required in order to use the database.

WOMEN

Pathways to Career Success for Women: A Resource Guide to Colleges, Financial Aid, and Work.Chicago,

IL: J.G. Ferguson Publishing Company, 2000.

URL: http://www.fergpubco.com

Schlachter, Gail Ann. Directory of Financial Aids for Women 2003-2005. El Dorado Hills, CA: Reference

Service Press, 2003. Describes over 1,700 scholarships, fellowships, loans, grants, awards,

internships, and state sources of educational benefits for women. Entries include program title,

sponsoring organization, availability, purpose, eligibility, financial data, duration, limitations, number

of awards, and application deadline. Includes annotated bibliography of general financial aid directories.

Indexed by program title, sponsoring organization, geographic area, subject focus, and calendar deadlines.

URL: http://www.rspfunding.com

WRITING

Brogan, Katie Struckel and Robert Brewer, eds. 2003 Writer's Market. Cincinnati, OH: Writer's Digest

Books, 2002.Contains a "Contests and Awards" section listing fellowships and prizes for fiction, nonfiction,

poetry, playwriting, screenwriting, journalism, children's literature, and translation. Includes

information on programs sponsored by state arts councils. Published annually.

URL: http://www.writersdigest.com

Literary Market Place 2003: The Directory of the American Book Publishing Industry. Medford, NJ: Information

Today Inc., 2002. Includes a section listing literary prizes, contests, residencies, fellowships, and grants.

Published annually.

Email: info@bowker.com;

URL: http://www.bowker.com

Morrone, John, Victoria Vinton, and Anna Jardine, eds. Grants and Awards Available to American Writers.

New York: PEN American Center, 2002. Comprehensive list of awards available to American and Canadian

writers for use in the U.S. or abroad. Includes appendix of state arts councils.

URL: http://www.pen.org

Poets & Writers Magazine. New York, NY: Poets & Writers, Inc.

URL: http://www.pw.org

Sova, Kathy, and Samantha Rachel Healy, eds. Dramatists Sourcebook, 2002-2003. New York: Theatre

Communications Group, 2002. Contains a "Fellowship and Grants" section listing foundations and organizations

that offer funding to playwrights, composers, translators, librettists, deadlines, remuneration, and

includes a list of sources of emergency funds for writers in severe temporary financial difficulties,

the addresses and phone numbers of state arts agencies, and artists' colonies and residencies.

Published annually.

E-mail: tcg@tcg.org;

URL: http://www.tcg.org

Wright, Michael, and Christi Pyland. The Student's Guide to Playwriting Opportunities. 3rd ed. Dorset,

VT: American Theatre Works, 2002.Includes developmental programs that may have internships, fellowships,

summer employment, and other opportunities of interest to student playwrights.

URL: http://www.theatredirectories.com

More Internet Sources

Americans for the Arts

(http://www.artsusa.org)

Information clearinghouse that provides material on funding for individuals in all areas of the arts. National

Endowment for the Arts

(http://arts.endow.gov)

Provides information on fellowships in the areas of poetry, prose, music, and the arts. Newswise

(http://www.newswise.com)

Includes descriptions, deadlines, and contact information for more than 90 awards, grants, and fellowships in journalism.

Poets & Writers Online

(http://www.pw.org/mag/ grantsawards.htm)

Contains an extensive list of upcoming deadlines for future poetry and fiction prizes. The Zuzu's Petals Literary Resource

(http://www.zuzu.com)

Literary site with links to a variety of grants organizations and art councils.

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Introduction: "There's No Place Like Home"

The cottage industry, an old-fashioned enterprise, is enjoying a revival so strong that it's difficult to find out just how many Americans are now working at home. Estimates range from two to five million and the numbers may double or triple by 2010.

Because women now enter business at a rate five times faster than men, the trend of operating from home is growing. A natural starting place for many businesses seems to be the garage, basement, or den. A recent Census Bureau study showed that over 300,000 women's businesses are operated out of the home.

Homemakers, hobbyists, retirees, people interested in a second income, and the disabled are just a few of the groups attracted to home enterprises. A young mother's craft business began when she started appliquéing decorations on her children's clothes. A retired government worker bought 36 beehives and sold honey to local health food stores and at craft fairs. A teacher did typing and secretarial jobs for her husband and friends until she realized the potential market and opened a full-time secretarial service from her apartment. Others have become home business owners by using their skills in catering, counseling, teaching, day care, sewing, writing, photography, consulting, market research, and landscape design.

The list of Grants of services that have been successfully operated from home is endless: chimney sweeping, maid services, messenger services, wake-up and answering services, home nursing, mail order businesses, party planning, dog grooming, kitchen and closet planning and organizing, and others too numerous to mention. As you explore the questions asked in the first chapter, "Home Entrepreneurship: Is It For You," let your thoughts run freely through the possibilities until you can target exactly the right type of business for your skills, your home space, your market, and your part of the country.

Home Enterpreneurship: Is It For You?

The first step in deciding whether to start a business is to ask yourself this important question:

"Do I have what it takes to be an entrepreneur?"

Studying the characteristics of successful business owners will help you to tell whether your personality traits, experiences, and values are similar to those who have succeeded. And assessing your experience, skills, and life goals will also help you decide if you want to invest the energy, time, and resources that successful entrepreneurship requires.

Who is the "Typical" Entrepreneur?

What makes an entrepreneur successful is a hotly debated and vigorously researched subject. In Success And Survival In The Family- Owned Business, Pat B. Alcorn, an expert on entrepreneurial problems, has developed the following questionnaire to help you determine your "Entrepreneurial Quotient." Write your answers in the margin. Then read on to discover what she believes characterizes the typical entrepreneur:

Do you reconcile your bank account as soon as the monthly statement comes in?

Entrepreneurs are careful about money. They usually know how much money they have so they can seize opportunities on short notice. They know what things cost, whether prices are going up or down, and whether they are getting a bargain.

Did you earn money on your own from some source other than your family before you were 10 years old?

Most people who are going to make money in business show an affinity for making money at an early age--by babysitting, selling lemonade, delivering newspapers, or some such strategy.

Do you get up early in the morning and find yourself at work before others are out of bed?

Entrepreneurs sleep and eat enough to keep up their strength, but they don't usually tarry at these pursuits.

Do you tend to trust your hunches rather than wait until you have a lot of information on hand?

Hunches are judgments based on factors that cannot be quantified, A big part of entrepreneurship seems to be risk-taking based on these hunches.

Do you keep new ideas in your head instead of writing them down?

Entrepreneurs keep a lot of things in their heads, including their most creative ideas.

Do you remember people's names and faces well?

Ease in remembering names and faces is very important in the business world.

Were you good in "hard" subjects--mathematics, biology, engineering, accounting, and so forth--in school?

People who major in business administration in college are more likely to be successful entrepreneurs than anyone else. They prefer subjects in which the answers are conclusive rather than open-ended conclusions full of contingencies. Grants should include your Business Investments.

In school, did you pretty much stay away from such organizations as Scouts and student government?

Most entrepreneurs tend to be loners rather than joiners, unless joining is a useful tactic for making contacts and gathering business information.

In courting the opposite sex, did you tend to go for one person at a time as opposed to playing the field?

Most entrepreneurs preferred one person because to play the field would have taken too much time away from business activities.

Do you close deals with a handshake rather than insisting on written contracts and guarantees?

Good entrepreneurs are often comfortable with something less binding than written contracts. When the only bond is a word, it becomes a matter of honor, and no entrepreneur can afford to lose honor.

Do you devote considerably more time and thought to work than to other activities, such as hobbies?

Entrepreneurs may have some leisure time activities, but their principal hobby is their work.

A similar test was developed by John Komives, director of Milwaukee's Center for Venture Management. Again, write your answers in the margin, then read on to see the expert's answers

Was your parent an entrepreneur?

Having a close relative who was an entrepreneur is the single most telling indicator of a successful entrepreneur.

Are you an immigrant?

There is a high correlation between immigrants and entrepreneurs. In this sense, "immigrant" includes not only those who were born outside the United States, but also those who moved from farm to city or from the Midwest to the West Coast.

Did you have a paper route?

The entrepreneurial streak shows up early in life.

Were you a good student?

Typical entrepreneurs were anything but model students and often were expelled from school.

Do you have a favorite spectator sport?

The best answer is "no." Entrepreneurs are poor spectators. They often excel at individual, fast-paced sports such as skiing or sailing.

What size company do you now work for?

The typical entrepreneur comes from a medium-sized company--30 to 500 employees.

Have you ever been fired?

Entrepreneurs make poor employees. That's why they become entrepreneurs.

If you had a new business going, would you play your cards close to the vest, or would you be willing to discuss problems with your employees?

Typical entrepreneurs have a secretive streak. If they confide in anyone, it is likely to be another entrepreneur.

Are you an inventor? A Ph.D.?

Not a positive indicator. Inventors fall in love with their products, Ph.D.s with their research.

How old are you?

The typical age for starting a business seems to be 32-35.

When do you plan to retire?

In still another study, Jeffry A. Timmons asserts that entrepreneurs are people who have high energy, feel self-confident, set long-term goals, and view money as a measure of accomplishment. They persist in problem solving, take moderate risks, learn from failures, seek and use feedback, take initiative, accept personal responsibility, and use all available resources. They compete with themselves and believe that success or failure lies within their personal control or influence. They can tolerate ambiguity.

Are You Ready, Willing, and Able?

Now that you have studied the characteristics of others who have succeeded, survey your reasons and in the grant proposal, state reasons for wanting a home-based business. Are you dissatisfied with your current job? What are your skills? What is your business experience, especially in the business you want to start? What are your life goals? What resources do you have that might help?

Answering these questions will provide reality testing for ideas that can sound incredibly glamorous when chatting with friends or seductively attractive when you are irritated or bored by your present job.

Order a copy of the SBA pamphlet Checklist For Going Into Business, MA 2.016 (see For Further Information). Answer the questions and discuss your reactions with friends and family. Or better yet, ask several people close to you to think carefully about you and fill out the checklist for you. Have you underestimated your abilities? Overestimated them? Sometimes an evaluation by a friend is more useful than a self-evaluation.

How does your family react to the idea of a home business? Will you expect them to help out? What changes would your business use of the house mean for them? Will you have to remodel to create a usable business space?

What resources are available to you? Will you start by keeping your job and "moonlighting" for a while? Do you have a small nest egg, inheritance, or retirement income to live on until you get the business going? Do you already own tools or machines that will help (for instance, a word processor for a secretarial business or professional cameras and a darkroom for a commercial photography business)? Are you able to go back to school for training if necessary? Have you built up a network of contacts and possible customers through your previous lines of work or will you be starting from scratch? Check other Grant Resources this site.

Answering these questions honestly and completely will help you assess not only your chances for success but also which type of home-based business to choose. For instance, if your past professional life and contacts are all in the educational, teaching, child-oriented school area, then you should have powerful reasons for leaving that and opening a mail-order seed business. Possibly a tutoring business or a tot exercise franchise would use more of your resources and networks. On the other hand, if your assessment of your life goals and preferences helps you realize that you are burned out from working with kids, then perhaps a business planning birthday parties could later be built into a general party planning and catering business. You would be using your old contacts to build a long-range business plan that focuses on a service business for adults.

The Advantages of Home-Based Business

Why have millions of Americans chosen to work and live in the same place? Why are cottage industries sprouting faster than we can count them? Some home-based businesses start by accident rather than by conscious design. Secretarial services, day-care centers, craft ventures, and the like may start out as weekend activities in the recreation room. After a while their owners are surprised to see how profitable or enjoyable the venture has become. The glimpse of a healthy market lures them into a full-time venture. This low-risk, low-overhead, gradual kind of start-up is very attractive to new business people.

Many home-based bus